HUDSON'S    SHAKESPEAEE. 


JAMES  MU.NROE  AND  COMPANY, 

BOSTON    AND    CAMBRIDGE, 

ARE   PUBLISHING 

THE 

WORKS  OF  SHAKESPEARE; 

THE    TEXT  CAKEFULLT  RESTORED   ACCORDING  TO   THE  FIRST   EDITIONS 
WITH    INTRODUCTIONS,    NOTES,    ORIGINAL    AND    SELECTED. 

AND  A  LIFE   OF  THE  POET, 

BY   REV.   H.   N.   HUDSON,   A.M. 

In  11  Tols.,  16mo.    $1  each. 
(VOLUMES  ONE  TO  six  NOW  READY.) 

"  Readers  are  so  familiar  with  announcements  of  new  editions  of  Shakespeare 
that  they  may  overlook  the  peculiar  claims  of  this.  They  consist,  first,  in  the 
conscientious  labors  of  the  editor,  in  restoring  the  original  text ;  secondly,  in 
the  discrimination  and  judgment  manifest  in  the  notes  ;  and,  thirdly,  in  the 
legibility,  clearness,  and  beauty  of  the  type,  and  the  convenient  size  and 
shape  of  the  volume.  This  edition  is,  therefore,  not  only  intrinsically  of  supe 
rior  value,  but  it  is  the  most  readable  ever  published.  It  is  also  an  American 
edition,  the  first  where  thorough  justice  is  done  the  great  bard." 

Home  Journal,  New  York. 

"  On  reading  Mr.  Hudson's  admirable  preface,  I  was  much  struck  with  the 
high  tone  and  spirit  in  which  he  has  entered  upon  his  task.  The  style  in 
which  the  edition  is  brought  out  pleases  me  extremely  ;  it  is  a  remarkable, 
comfortable,  cosy,  readable  form  of  volume  — just  such  a  one  as  we  take  up 
with  delight  and  lay  down  with  regret  —  one  that  can  be  held  for  hours  with 
out  inconvenience,  lounging  in  doors  over  the  fire,  or  carried  without  incum- 
brance  out  into  the  fields ;  and  this  is  a  strong  recommendation.  A  book,  the 
contents  of  which  make  it  our  favorite  and  constant  companion."  —  Extract 
of  a  Letter  by  Mrs.  Mary  Cowden  Clarke,  Author  of  the  Concordance  to  Shake- 
spear  e. 

"  The  introductions  are  delightful  reading,  and  marked  by  great  acuteness 
of  thought,  delicacy  of  sentiment,  and  high  appreciation  of  the  genius  of  the 
great  bard.  The  notes,  too,  are  just  what  they  should  be,  brief,  pointed,  and 
ingenious,  and  explain  very  satisfactorily  the  obscure  places." —  The  Chwch- 
man,  New  York. 

"  Of  his  fitness  as  an  editor,  his  long  devotion  to  his  illustrious  subject,  and 
his  wide  reputation  as  a  Shakesperian  critic  and  commentator,  would  seem  to  be 
a  sufficient  guarantee.  And  from  a  casual  glance  to  the  volumes  before  us,  we 
can  safely  aver  that  he  has  well  succeeded,  both  in  hjs  omissions  and  commis 
sions.  His  notes  are  sensible  and  appropriate.  He  has  made  many  rough 
places  smooth,  and  has  shown  no  disposition  to  display  his  own  abilities  at  the 
expense  of  his  subject.  Those  who  regard  the  text  alone  or  chiefly,  will  find 


ADVERTISEMENT. 

the  edition  under  notice  the  best  and  most  convenient  extant.  The  volumes 
are  of  just  the  proper  size  for  handling,  and  the  notes  are  at  the  bottom  o1 
each  pige."  —  Boston  Morning  Post. 

"  We  know  of  no  better  edition  of  Shakespeare.  In  its  paper,  typography, 
and  wood-cuts,  the  present  American  edition  is  quite  equal,  if  not  superior,  tc 
the  English.  Great  pains  have  been  taken  to  render  the  text  accurate  ;  and 
Mr.  Hudson  has  scrupulously  eliminated  all  superfluous  and  merely  specula 
tive  matter  in  the  notes."  —  The  Evening  Transcript,  Boston. 

"  Mr.  Hudson  has  made  so  judicious  a  selection  from  what  it  was  advisable 
to  preserve  from  previous  collections  of  other  plays,  that  we  have  nothing  bu< 
praise  to  bestow  upon  his  labors.  The  type,  too,  is  clear  and  pleasant,  and 
the  volumes  not  too  large  for  the  hand  or  the  pocket.  —  The  Examiner,  Lon 
don. 

"  For  convenient  handling  and  holding,  for  clearness  and  beauty  of  typog 
raphy,  we  prefer  this  edition  of  Shakespeare  to  any  other  extant." 

Washington  Republic. 

"  There  is  every  probability  that,  as  soon  as  Mr.  Hudson's  '  Shakespeare 
becomes  known,  as  it  well  deserves  to  be,  in  this  country,  it  will  meet  with  n< 
inconsiderable  amount  of  patronage  here ;  for,  in  addition  to  what  we  have 
already  said,  the  size,  the  quality  of  the  paper,  the  excellence  of  the  type,  anc 
all  the  minor  accessories,  are  unquestionably  in  its  favor." 

New  Quarterly  Review,  London. 

"  A  most  acceptable  service  will  be  rendered  to  the  reading  world,  and  t< 
the  admjrers  of  Shakespeare  in  particular,  by  Mr.  Hudson's  labors  upon  thi: 
edition  of  the  works  of  the  great  dramatist.  As  editions  are  so  numerous,  ant 
discrimination  between  them  not  easy  to  those  who  have  a  little  leisure,  w< 
may  do  such  a  service  by  giving  them  a  brief  idea  of  the  merits  of  the  on< 
before  us.  It  is  modelled  upon  the  celebrated  Chiswick  edition,  publishet 
twenty-six  years  ago  —  preserving  very  nearly  the  tout  ensemble  of  that  work 
but  differing  from  it  most  essentially  in  the  text  and  annotations.  Th< 
almost  multitudinous  corruptions  which  were  incorporated  in  the  Chiswicl 
copy  —  the  fruits  of  successive  editorial  corrections  —  so  called  —  of  the  origi 
nal  text,  have  been  expunged,  and  the  true  readings  restored.  The  annota 
tions  are  frequently  entirely  new,  a  necessity  arising  from  the  correction  o 

the  text We  have  only  to  add,  that  the  mechanical  execution  of  th< 

work  is  almost  faultless,  and"  that  it  will  probably  be  completed  during  tin 
present  year." —  Southern  Lit  Gazette. 

"  An  edition  of  Shakespeare,  edited  so  admirably  as  this  —  so  convenient  ir 
its  form,  so  elegant  in  its  execution,  and  so  cheap  in  its  price  — will,  we  hope 
have  a  circulation  over  the  country,  corresponding  to  its  great  merits." 

Graham's  Magazine,  Philadelphia. 

"As  a  work  for  schools  and  families,  this  edition  will  be  found  bette 
adapted  than  any  other  we  have  examined.  The  volumes  are  convenient  ii 
size,  and  the  printing  clear."  —  Godey^s  Lady's  Book. 

"  The  same  judicious  style  of  annotation,  not  excessive,  but  sufficient  for  thi 
ordinary  reader,  which  marks  the  former  volumes  of  this  edition,  characterize 
the  two  before  us.  In  point  of  size,  goodness  of  type,  portability,  &c.,  this  i 
certainly  the  best  edition  of  Shakespeare,  as  a  text  for  reading,  now  extant  ii 
the  language."  —  Methodist  Quarterly  Review. 

"  It  is,  of  all  editions  yet  published,  a  favorite  one  with  us,  and  we  hav< 
some  half  dozen  or  more."  —  Hunt's  Merchants'  Magazine. 

"  The  introduction  to  the  several  plays  by  the  editor,  Mr.  Hudson,  one  o 
the  best  Shakesperian  students  and  interpreters  of  the  day,  are  very  full 
abounding  in  elegant  criticism  upon  the  creations  of  the  poet's  genius,  an< 
containing  appropriate  historical  notices  of  the  plays.  Indeed,  the  edition  i 
in  all  respects  an  excellent  one,  and  notwithstanding  the  multiplication  o 
copies  of  Shakespeare,  there  is  ample  room  for  the  present  issue,  as  it  suppliei 
a  place  not  filled  by  any  previous  one."  —  Lowell  Journal. 


A    RECORD 


OF 


THE   BOSTON    STAGE. 


BY 


WILLIAM  W.   CLAPP,  JR., 

EDITOR    OF    THE    "BOSTON    EVENING    GAZETTE.' 


BOSTON   AND   CAMBRIDGE: 

JAMES    MUNROE    AND    COMPANY 

MDCCCLIII. 


Entered  according  to  Act  of  Congress,  in  the  year  1853,  by 

WILLIAM  W.  CLAPP,  JR. 
in  the  Clerk's  office  of  the  District  Court  of  the  District  of  Massachusetts. 


CAMBRIDGE  t 

ALLEN    AND    FARNHAM,    PRINTERS 


108 


PREFACE. 


THE  following  pages  were  originally  published  in 
the  Boston  Evening  Gazette,  and  the  favor  extended 
to  them  by  the  public  has  induced  the  writer  to  present 
them  in  a  more  convenient  form,  for  reference  and 
perusal.  Many  corrections  and  considerable  additions 
have  been  made,  since  they  first  appeared;  and,  by 
the  kindness  of  friends,  many  material  facts  relating 
to  the  progress  of  the  Drama  have  been  obtained. 

The  sources  of  information  from  whence  the  facts 
have  been  obtained,  were  the  most  authentic;  and 
it  has  been  the  writer's  endeavor  to  present  to  the 
public  an  interesting  sketch  of  the  progress  of  the 
Drama  in  this  city,  from  the  earliest  times  to  the 
present  day.  How  far  he  has  succeeded,  the  reader 
will  judge. 

BOSTON,  1853. 


226497 


CONTENTS. 


CHAPTER  I. 

Introductory  Remarks.  —  First  Performance  in  Boston.  —  Law 
against  Theatricals.  —  Amateur  Theatricals.  —  Burgoyne's  Play. 
—  Attempt  made  to  Repeal  the  Law  against  Theatricals.  —  The 
Exhibition  Room  in  Board  Alley.  —  Opening  Bill.  —  "  Moral  Lec 
tures."  —  Trouble  at  the  Theatre. — Arrest  of  Harper,  and  Trial 
in  Faneuil  Hall.  —  Death  of  Governor  Hancock.  —  Charles  Stuart 
Powell,  and  his  "Evening  Brush  for  Rubbing  off  the  Rust  of 
Care." — First  American  Play.  —  Origin  of  the  Federal  Street 
Theatre.  —  A  Curious  Pamphlet,  ....  Page  1 


CHAPTER  II. 

Opening  of  the  Boston  Theatre.  —  Description  of  the  Building.  — 
First  Bill.  —  Snelling  Powell.  —  Mrs.  Powell.  —  The  Prize  Pro 
logue.  —  The  Early  Critics  of  Boston.  —  Col.  J.  S.  Tyler's  Manage 
ment.  —  The  New  York  Company.  —  Hodgkinson  and  Hallam.  — 
First  Performance  of  Macbeth.  —  Death  of  Joseph  Russell.— 
Anecdotes  of  Cleveland,  and  "  King  Kenny."  —  Biographical 
Sketch  of  John  Hodgkinson.  —  The  Introduction  of  Various  Cus 
toms.  —  Respect  of  the  Managers  for  Religion,  etc.  etc.  .  18 


CHAPTER  III. 

Success  of  the  Theatre  under  the  Boston  Company.— Pit  Tickets 
Counterfeited.  —  Management  of  J.  B.  Williamson.  —  A  New  The 
atre  talked  of.  —  Proposals  for  building  the  Haymarket.  —  Induce 
ments  held  out  by  C.  S.  Powell.  —  Legerdemain.  —  Arrival  of  Mr. 


VI  CONTENTS. 

and  Mrs.  G.  L.  Barrett.  —  Mrs.  Whitlock.  —  Mrs.  Rowson.  — 
Opening  of  the  Haymarket.  —  First  Appearance  of  Mr.  Dickson.  — 
Biographical  Sketch  of  Mr.  Dickson.  —  Jealousy  of  the  Rivals.  — 
John  Burk.  —  His  Play  of  Bunker  HiU.  —  Anecdotes  of  the  Play. 

—  John  Adams,  Critique.  —  Proposed  Launch  of  the  Frigate  Con 
stitution,  and  a  Managerial  Coup  de  Theatre.  —  A  Patriotic  Song. 

—  Destruction  of  the  Federal  Street  Theatre  by  Fire.  —  Mr.  Dear 
born's  Rooms.  —  Bowen's  Columbian  Museum.  —  An  American 
Vauxhall.  —  Proposals  made  by  the  Fanatics.  —  Wisdom  of  the 
u  Solid  Men  of  Boston," 34 


CHAPTER  IV. 

Visit  of  Cooper  to  Boston.  —  A  Biographical  Sketch.  —  Incidents  of 
his  Life.  —  Anecdotes.  —  His  Death.  —  The  Learned  Pig.  —  Open 
ing  of  the  Federal  Street  Theatre.  —  Visit  of  President  Adams  to 
the  Theatre.  —  Debut  of  Master  George  Barrett.  —  Death  of  Wash 
ington.  —  Observances  at  the  Theatre  in  Philadelphia.  —  Obsequies 
in  Boston.  —  The  Monody  at  the  Theatre.  —  Mr.  Whitlock's  Man 
agement.  —  Mrs.  Jones.  —  George  Barnwell.  —  Anecdote.  —  Pizar- 
ro.  —  Row  at  the  Theatre.  —  The  gloomy  Days  of  the  Drama,  61 


CHAPTER  V. 

Tragedy  in  Real  Life.  —  Powell  and  Harper's  Management.  —  Mr. 
Cromwell.  —  Success  of  the  Theatre.  —  Munroe  and  Francis.  — 
Edition  of  Shakspeare.  —  Closing  of  the  Haymarket.  — Its  Destruc 
tion. —  Mrs.  Darley.  —  Mr.  Dickson' s  Sir  Anthony  Absolute. — 
Mr.  John  Bernard. —  A  brief  Sketch.  —  Death  of  Hamilton.— 
Fox.  —  Cooper's  First  Appearance  at  the  Boston  Theatre.  — 
"Cooper  or  no  Play."  —  Row  at  the  Theatre.  — The  Benefit 
Season.  —Mr.  Bernard's  Return  to  England.  —  Non  Arrival  of  the 
Vessel.  —  Master  Loring.  —  Hon.  Mrs.  Twistleton.  —  Mr.  Caulfield. 
—  S.  P.  Q.  A.  —The  Columbian  Museum,  etc.  etc.  .  .  76 


CHAPTER  VI. 

Mr.  James  Fennell.  — Mr.  C.  S.  Powell.  —  Benefit  for  the  Lunatic 
Asylum.  —  Readings  from  Shakspeare.  —  Mr.  Webster.  —  Mr. 
Twaits.  —  Appearance  of  the  celebrated  Mrs.  Wan-en,  (Miss 


CONTENTS.  Vll 

Brunton).  —  Biographical  Sketch.  —  Mr.  Cooper.  —  Harwood.  —  A 
Joint  Engagement.  —  Criticisms  of  Robert  Treat  Paine.  —  Remarks 
upon  Mr.  Cooper  and  Mr.  Fennell's  Acting.  —A  touch  at  Pseudo- 
critics.  —  The  Embargo,  etc.  etc 88 


CHAPTER  VH. 

John  Howard  Payne. —Mr.  and  Mrs.  Darley.  — Mr.  and  Mrs. 
Claude.  —  William  Charles  White. —First  Production  of  Forty 
Thieves.  —  Mr.  and  Mrs.  Duff.  —  Mr.  and  Mrs.  Samuel  Drake.  — 
Anecdote  of  Morse.  —  George  Frederick  Cook's  First  Appearance 
in  Boston.  —  A  Biographical  Sketch.  —  His  Last  Appearance  on 
any  Stage  at  Providence,  etc.  etc 101 


CHAPTER  VIII. 

Cooke's  Last  Engagement  in  Boston.  —  Entwistle  and  Cooke  Jiors 
du  combat.  —  The  Burning  of  the  Richmond  Theatre.  —  The  War 
of  1812,  and  its  Effects  on  Theatricals.  —  Cooke  in  Providence.  — 
Anecdotes.  —  The  Play  of  "  A  New  Way  to  Pay  Old  Debts."  — 
Commemoration  at  the  Boston  Theatre  of  the  Capture  of  the  Guer- 
riere  by  the  Constitution.  —  Mr.  and  Miss  Holman.  —  Sketch  of 
Holman.  —  "Timour  the  Tartar."  —  Commemoration  of  Perry's 
Victory  on  Lake  Erie.  —  Great  Fire  at  Portsmouth,  and  Benefit.  — 
Visit  of  Commodore  Perry  to  the  Theatre.  —  Anecdote  of  McKen- 
zie.  —  Visit  of  Commodore  Stuart  to  the  Theatre,  etc.  etc.  126 


CHAPTER  IX. 

Early  Circuses.  —  Pepin  &  Breschard.  —  Anecdote.  —  Mrs.  Mestayer. 

—  Gas  Lights.  —  Mrs.  Moore.  —  Mrs.  Williams.  —  Guy  Mannering. 

—  Mr.  Pelby.  —  Frederick  Brown.  —  Hilson.  —  Charles  Incledon.  — 
Several  Anecdotes  of  him.  —  His  Last  Song.  —  Mr.  Phillips.  — 
Mrs.  Powell.  —  Early  Criticisms.  —  Puffery,  etc.  etc.        .          142 


CHAPTER  X. 

The  Season  of  1818-19.  —  First  appearance  of  Mr.  James  W.  Wallack 
in  Boston.  — -  A  Sketch  of  his  Life.  —  Mr.  and  Mrs.  Bartley.  —  Their 


Till  CONTENTS. 

troubles  in  Connecticut.  —  Anecdote  of  Mrs.  Hartley. —  Mr.  John 
X.  Bernard.  —  Dykes.  —  Cooper.  —  Mr.  Fred.  Brown.  — Jos.  T. 
Buckingham.  —  Robert  Manners.  —  Philo-Dramatic  Society.  —  In 
troduction  of  Camels,  .  .  .  .  .  .  -'  .  .  154 


CHAPTER  XL 

A  Sketch  of  the  Life  of  Edmund  Kean.  —  His  Early  Days.  —  First 
Appearance  on  the  Stage.  —  Miss  Tisdale.  —  His  Performances  in 
the  Ring.  —  Anecdotes.  —  Appearance  in  London.  —  Marriage.  — 
Leo,  or  the  Gipsey.  —  His  Family.  —  K,ean  and  Arnold.  —  Charles 
Kean,  etc.  etc *  167 


CHAPTER   XH. 

Kean's  First  Appearance  in  Boston.  —  The  Rush  for  Tickets.  —  The 
Premiums  given  to  Charitable  Societies.  —  feeau's  Receipts.  —  Mr. 
Thayer.  —  Master  Ayling.  —  The  Sea  Serpent.  —  Death  of  Mr. 
Bray.  —  Death  of  Snelling  Powell.  —  Last  Appearance  of  Mr. 
Dickson.  —  Kean's  Return  to  Boston. —  His  Troubles.  —  The  Ec 
centric  Kemble.  —  Squibs  at  Kean,  etc.  etc.  ...  180 


CHAPTER  Xni. 

The  Act  of  Incorporation.  —  Tom  Kilner.  —  Labasse.  —  Samuel  Wood- 
worth. —  Boston  a  City.  —  Booth's  First  Appearance  in  Boston. — 
Biographical  Sketch  of  Booth.  —  Remarks  on  his  Acting.  —  Appear 
ance  of  Miss  Elizabeth  Powell.  —  George  Barrett.  —  Announcement 
of  Mr.  Finn's  Appearance.  —  A  Biographical  Sketch  of  Henry  J. 
Finn,  etc.  etc.  .  194 


CHAPTER  XIV. 

Charles  Mathews  in  Boston. —  His  First  Appearance.  —  Sketch  of 
his  Life.  —  Anecdotes.  —  His  Libel  Suit  —  Arthur  Keene.  — 
Adams.  —  Coleridge's  Remorse.  —  Booth,  "  Xo  Xew  York  Man 
agers  here/'  —  The  City  Theatre.  —  Joe  Cowell's  Troupe.  —  "  Tom 
and  Jerry''  brought  out.  —  The  Shakspeare  Jubilee.  —  The 
Prize  Ode.  —  Report  of  the  Committee.  —  Presentation  of  the 
Pitcher  to  Charles  Sprague,  .  .  .  -  ;  .  .  208 


CONTENTS.  IX 


CHAPTER  XV. 

The  Shakspeare  Jubilee.  —  Compliment  to  the  Author  of  the  Prize 
Ode.  —  Conway.  —  Visit  of  Lafayette  to  Boston.  —  Ebenezer  Bai 
ley,  Esq.  —  Bunker  Hill  Monument.  —  Enterprise  of  Newspapers. 
—  City  Theatre.  —  Kean  Announced  to  Appear.  —  His  Troubles  in 
England.  —  His  First  Card.  —  First  Appearance  in  New  York.  — 
His  Apology  to  the  Boston  Public.  —  Preliminaries.  —  The  Great 
Kean  Riot,  etc.  etc 219 


CHAPTER  XVI. 

The  City  Theatre.— Maelzel's  Automaton  Chess  Player.  — Mrs. 
Pelby.  —  Williamson.  —  Mrs.  Hamblin.  —  Forest.  —  Macready.  — 
Macready's  First  Appearance  in  Boston.  —  Tickets  at  Auction.  — 
Paul  Pry.  —  First  Appearance  of  Edwin  Forest.  —  Receipts.  —  A 
Sketch  of  Edwin  Forest,  etc.  etc 238 


CHAPTER  XVH. 

Macready's  Reappearance.  —  Mrs.  Knight.  —  The  Washington  The 
atre.— The  Mermaid. —The  Project  of  a  New  Theatre.  —  Mr. 
William  Pelby.  —  Act  of  Incorporation.  —  Departure  of  Mr.  Finn 
for  Europe.  —  Opening  of  the  War  between  the  Rival  Houses.  — 
Tom  Flynn.  —  George  Andrews.  —  Miss  Rock.  —  Baron  Hacket. 
—  The  Two  Dromios.  —  Miss  Clara  Fisher.  —  Opening  of  the 
Tremont  Theatre.  —  The  Prize  Address.  —  The  First  Struggle  for 
Supremacy, 247 


CHAPTER  XVHL 

Change  of  Management  at  the  Tremont  Theatre.  — J.  B.  Booth  a^ 
Acting  Manager.  —  The  Company  and  Salaries.  —  Debut  of  John 
Gibbs  Gilbert.  —  Forrest's  First  Appearance  at  the  Tremont.  — 
Der  Freischutz.  —  Hyatt.  —  Madam  Feron.  —  Tom  Comer's  First 
Benefit.  —  W.  H.  Smith's  First  Benefit  —  Faults  of  the  Theatre.  — 
The  Opera  at  the  Old  Theatre.  —  Commencement  of  the  Regular 
Season.  —  Caldwell.  —  Finn's  Unique  Cards.  —  Debut  of  Mrs. 
Cramer,  etc.  etc '.  -  ''.  .  252 


CONTENTS. 


CHAPTER  XIX. 

Contest  between  the  Two  Theatres.  —  The  Old  House  Closed.  — The 
Opera. — The  Company.  —  Booth's  Appearance.  —  His  Strange 
Conduct,  and  Walk  to  Providence.  — Metamora.  —  The  Produc 
tion  of  English  Dramas.  —  Richard  Russell.  —  Charles  Kean. — 
Master  Burke.  — Amphitheatre  in  Flagg  Alley.  —  Ball  of  the  Ca 
dets  at  the  Old  Theatre.  —Another  of  Finn's  Cards,  etc.,  etc.  274 


CHAPTER  XX. 

The  Opening  of  the  Tremont.  — Appearance  of  Mr.  Anderson.  —  The 
Anderson  Troubles  in  New  York  and  Boston.  —  The  Gladia 
tor.— Mr.  Sinclair.— The  Opera.  —  Frederick  S.  Hill.  —  Miss 
Mary  Duff.  —  The  Social  Condition  of  Actors— The  Hermanns.— 
The  Ravel  Family.  —  Opening  of  the  Federal  Street. —First 
Performance  of  the  "  Hunchback."  —  Mrs.  Barrymore. — Benefit 
of  John  Howard  Payne.  —  The  Kembles.  —  Expiration  of  Mr. 
Dana's  Lease, 289 


CHAPTER  XXL 

Biographical  Sketch  of  Charles  H.  Eaton.  —  The  Season  of  1833-4.  — 
Thomas  Barry,  Esq.  —  His  First  Season  in  Boston.  —  Tyrone  Pow 
er.  —  The  Visit  of  the  Woods  to  Boston.  —  Dana  v.  Kemble.  — 
Recollections  and  Reminiscences  of  the  Woods,  etc.,  etc.  .  306 


CHAPTER  XXH. 

Joseph  Wood.  —  His  Sudden  Rise  and  the  Cause.  —  James  G.  Mae- 
der.  —  Anecdotes.  —  Receipts  of  the  First  Boston  Engagement.  — 
The  Kembles.  —  Mr.  Barry's  Second  Season.  —  Park  Benjamin's 
Address.  —  The  Appearance  of  J.  Sheridan  Knowles.  —  Charles 
Mathews.  etc 323 


CHAPTER  XXHL 

Fanny  Jarman.— F.  S.  Hill's  Prize  Poem.  —  Miss  Charlotte  Cush- 
man's  First  Appearance.  —  Miss    Watson.  — Her   Intrigue  with 


CONTENTS.  XI 

Paganini.  —  Mr.  Harrington,  Professor  of  Ventriloquism.  —  The 
Old  Theatre.  —  The  Season  of  1835-36.  —  The  Veteran  Dowton.  — 
James  Murdock.  —  First  Appearance  of  Miss  Clifton.  —  Mr.  and 
Mrs.  Keeley.  —  Epes  Sargent's  "  Bride  of  Genoa."  — First  Appear 
ance  of  Ellen  Tree.  —  Lines  by  John  Q.  Adams.  —  Keceipts. — 
Leman,  Charlotte  Cushman,  etc 339 


CHAPTER  XXIV. 

Continuation  of  Mr.  Barry's  Management.  —  Bianca  Viscounti. — 
Forrest's  Great  Engagement.  —  Velasco.  —  Vandenhoff.  —  Mrs. 
Shaw.  —  Miss  Hildreth.  —  Miss  Missouri.  —  Her  Romantic  His 
tory. —  Lady  of  Lyons. — Mr.  Barry's  Last  Season.  —  Edward 
Shales.  —  His  Dramatic  Career. — A  Review  of  Mr.  Barry's  Man 
agement,  350 


CHAPTER  XXV. 

The  Tremont  under  J.  S.  Jones.  —  Season  '39-40.  —  The  Company.  — 
Mr.  Ranger.  —  Charles  Kean. — Death  of  Mr.  Stimpson.  —  Mrs. 
Fitzwilliam.  —  Jack  Falstaff,  by  George  Andrews.  —  The  Finn  and 
Eberle  Benefits.  — Attempt  to  reduce  the  Prices.  — Tyrone  Power. 
—  Fanny  Elssler.  —  The  Woods.  —  John  Braham,  etc.  etc.  .  362 


CHAPTER  XXVI. 

The  Last  Years  of  the  Tremont  Theatre.  —  Messrs.  Andrews  and  Pres 
ton.  —  The  Seguins.  —  Visit  of  the  Prince  de  Joinville.  —  Samuel 
Butler.  —  Boz.  —  Season  of  1842-3.  —  George  Vandenhoff. —"The 
Broughams.  —  Josh.  Silsby.  —  Closing  Scenes  at  the  Tremont. — 
The  Last  Night.  —  First  Appearance  of  the  Learned  Blacksmith.  — 
Destruction  of  the  Temple  by  Fire,  etc.  etc.  .  .  .  375 


CHAPTER  XXVII. 

The  re-opening  of  the  Boston  Theatre.  —  0.  C.  Wyman,  Esq.  —  The 
Seguins.  —  The  Howard  Athenaeum.  —  Mr.  and  Mrs.  Charles 
Kean.  —  Edwin  Forrest.  —  Mr.  Fleming.  —  The  Museum.  —  King 
John.  — The  Viennoise  Children.  —  Titus  A.  Peep,  Esq.  — C.  R. 


Xii  CONTENTS. 

Thorne.  —  The  last  Season.  —  Messrs.  Wright,  Fenno  &  Co.,  etc. 
etc 38^ 

CHAPTER  XXVHI. 

The  National  Theatre.— Its  Origin.  — Mr.  Pelby.  — The  Warren 
Theatre.  —  The  National  Theatre.  —  J.  B.  Wright.  —  Thomas  A. 
Cooper.  —  Miss  Davenport.  —  Josh.  Silsbee.  —  Miss  Julia  Dean.  — 
McKean  Buchanan.  —  F.  S.  Hill.  — J.  S.  Jones.  —  Hamilton.  — 
Wright,  Fenno  &  Co.,  etc.  etc 397 


CHAPTER  XXIX. 

Proposals  for  a  New  Theatre.  —  The  New  National  Theatre.  —  Lay 
ing  of  the  Corner  Stone. —  Mr.  G.  V.  Brooke.  — The  Theatre 
lighted  up.  —  The  Opening  Night.  —  Douglass  Stewart.  —  Md'lle 
Falser.  —  New  Fares.  —  Receipts.  —  Edwin  Forrest's  Engagement. 
—  The  Spanish  Dancers. —  The  Company  Reduced.  — Leonard's 
Complimentary  Benefit.  —  Presentation  of  Plate  to  Brooke,  etc. 
etc.  406 


CHAPTER  XXX. 

The  Lion  Theatre.  —  The  Opening.  —  Mr.  Barrymore.  —  The  Jewess. 

The  Golden  Farmer.  —  Cooke's  Company. — The  Davenports 

at  the  Lion.  —  Mechanics'  Institute.  —  The  Melodeon,  etc.  etc.  420 


CHAPTER  XXXI. 

The  Howard  Athenaeum.  —  W.  F.  Johnson.  —  The  Opening  Com 
pany.  —  Jas.  H.  Hackett.  —  A  Sketch  of  the  Baron.  —  His  Youthful 
Pays.  —  The  Seguins.  —  Mrs.  Anna  Cora  Mo  watt.  —  A  Sketch  of 
Mrs.  Mowatt.  —  Her  Career  as  an  Actress.  —  Edward  Davenport, 
etc.  etc •  424 


CHAPTER  XXXII. 

The  Seguins  in  Norma.  — First  Production  of  that  Piece.  — Mr.  and 
Mrs.  Charles  Kean.  — Mr.  Stark,  Dyott,  Mr.  Murdoch,  Miss  Fanny 


CONTENTS.  Xlll 

Jones,  Miss  Mary  Ann  Lee.  —  The  Seguins,  and  the  "  Bohemian 
Girl,"  etc.  etc .435 


CHAPTER  XXXIII. 

The  Howard  Athenaeum.  —  Opening  Night.  — Introduction  of  William 
Warren.  —  Blangy.  —  The  Viennoise  Children.  —  Marti's  celebrated 
Havana  Opera  Company.  —  Tedesco.  —  Incident  in  her  Life.  — 
Signer  Perelli,  etc.  etc 441 


CHAPTER  XXXIV. 

Continuation  of  the  Howard  Athenaeum.  —  Madame  Anna  Bishop.  — 
Elize  Biscaccianti.  —  Truffi.  —  Fancy  Balls.  —  W.  C.  Macready.  — 
Maurice  Power.  —  Bateman  Children.  —  Charles  R.  Thome.  —  Jean 
Margaret  Davenport.  —  H.  W.  Finn.  —  Operas.  —  Baker  &  English. 
—  C.  D.  Pitt.  —  Mrs.  Mowatt.  —  Forrest.  —  Miss  Laura  Addison.  — 
Mrs.  Warner.  —  Madame  Thillon.  —  Lola  Montes.  —  The  Season  of 
1852-3.  —  Henry  Willard.—  Miss  Fitzpatrick.  —  Alboni.  —  Sontag, 
etc.  etc 450 


CHAPTER  XXXV. 

The  Boston  Museum.  —  The  Patrons  of  the  Museum.  —  The  Drunk 
ard.  —  Opening  Night  at  the  New  Museum.  —  Mrs.  Barrett.  —  The 
Vaudeville  Saloon  at  Boylston  Hall.  —  The  Eagle  Theatre.  —  Mr. 
Pelby's  coup  d'etat.  —  The  Olympic  Saloon.  —  The  Boston  Adel- 
phi.  —  The  Lyceum  Theatre.  —  The  Dramatic  Museum.  —  Beach 
Street  Museum.  —  The  Predictions  of  a  Veteran.  —  Closing  Re 
marks, 469 


RECORD  OF  THE  BOSTON  STAGE. 


CHAPTER    I. 

Introductory  Eemarks.  —  First  Performance  in  Boston.  —  Law 
against  Theatricals.  —  Amateur  Theatricals.  —  Burgoyne's  Play. 
—  Attempt  made  to  Eepeal  the  Law  against  Theatricals.  —  The 
Exhibition  Room  in  Board  Alley.  —  Opening  Bill.  —  "  Moral  Lee 
tures."  —  Trouble  at  the  Theatre.  —  Arrest  of  Harper,  and  Trial 
in  Faneuil  Hall.  —  Death  of  Governor  Hancock.  —  Charles  Stuart 
Powell  and  his  "Evening  Brash  for  Rubbing  off  the  Rust  of 
Care."  — First  American  Play.  — Origin  of  the  Federal  Street 
Theatre.  —  A  Curious  Pamphlet. 

THE  introduction  of  the  Drama  into  the  United 
States  dates  back  to  the  year  1749,  and  it  flourished  to 
some  extent  at  the  South  before  it  found  a  "  local  habi 
tation  and  a  name  "  in  Massachusetts.  The  colonial 
authorities  of  this  State  were  opposed  to  theatrical 
amusements.  They  had  but  a  very  imperfect  idea  of 
their  bearing,  and  in  their  ignorance  deemed  the  thea 
tre  the  abode  of  a  species  of  devil,  who,  if  allowed  once 
to  exist,  would  speedily  make  converts.  The  first 
allusion  to  the  subject  is  made  by  Increase  Mather  in 
1 


2         RECORD  OF  THE  BOSTON  STAGE. 

1686.  In  a  preface  to  his  "  Testimony  against  profane 
and  superstitious  customs,"  he  says :  "  There  is  much 
discourse  now  of  beginning  Stage  Plays  in  New  Eng 
land  ; "  but  we  have  no  account  that  any  representa 
tions  were  actually  given,  and  it  is  generally  conceded 
that  the  first  public  dramatic  performance  in  this  city 
was  Otway's  "  Orphan,  or  Unhappy  Marriage,"  which 
was  produced  at  the  Coffee  House  in  State  street,  by 
two  young  Englishmen,  assisted  by  some  volunteer 
comrades  from  the  town.  Such  an  innovation  was 
looked  upon  with  horror.  The  more  puritanical  at 
once  protested  against  the  proceedings,  and  in  the 
month  of  March,  1750,  the  General  Court  of  Massa 
chusetts  passed  the  following  act :  — 

An  Act  to  Prevent  Stage-Plays,  and  other  Theatrical  Entertainments. 

For  preventing  and  avoiding  the  many  and  great  mischiefs  which 
arise  from  public  stage-plays,  interludes,  and  other  theatrical  enter 
tainments,  which  not  only  occasion  great  and  unnecessary  expenses, 
and  discourage  industry  and  frugality,  but  likewise  tend  generally 
to  increase  immorality,  impiety,  and  a  contempt  of  religion. 

SECTION  1.  —  Be  it  enacted  by  the  Lieutenant  Governor,  Council, 
and  House  of  Eepresentatives,  that  from  and  after  the  publication  of 
this  act,  no  person  or  persons  whosoever  shall  or  may,  for  his  or  their 
gain,  or  for  any  price  or  valuable  consideration,  let  or  suffer  to  be  used 
and  improved,  any  house,  room,  or  place  whatsoever,  for  acting  or 
carrying  on  any  stage-plays,  interludes,  or  other  theatrical  entertain 
ments,  on  pain  of  forfeiting  and  paying  for  each  and  every  day  or  time 
such  house,  room,  or  place  shall  be  let,  used,  or  improved,  contrary  to 
this  act,  twenty  pounds. 

SECTION  2.  —  And  be  it  further  enacted,  that  if  at  any  time  or 
times  whatsoever,  from  and  after  the  publication  of  this  act,  any 
person  or  persons  shall  be  present,  as  an  actor  or  spectator  of  any 
stage-play,  interlude,  or  theatrical  entertainment  in  any  house,  room, 
or  place  where  a  greater  number  of  persons  than  twenty  shall  be 
assembled  together,  every  such  person  shall  forfeit  and  pay,  for  every 
time  he  or  they  shall  be  present  as  aforesaid,  five  pounds.  The  for 


RECORD    OF    THE    BOSTON    STAGE.  3 

feitures  and  penalties  aforesaid  to  be  one  half  to  his  Majesty  for  the 
use  of  the  Government,  the  other  half  to  him  or  them  that  shall 
inform  or  sue  for  the  same ;  and  the  aforesaid  forfeitures  and  penal 
ties  may  likewise  be  recovered  by  presentment  of  the  grand  jury,  in 
which  case  the  whole  of  the  forfeitures  shall  be  to  his  Majesty  for 
the  use  of  this  Government. 

A  law  so  stringent  had  the  desired  effect.  Private 
theatricals  were  clandestinely  given,  however,  and 
efforts  were  made  to  effect  its  repeal.  In  1767,  says 
Bradford  in  his  History  of  Massachusetts,  attempts  were 
made  to  permit  theatrical  exhibitions,  and  to  repeal  the 
laws  before  made  against  them.  The  proposal  this 
year  (some  unsuccessful  efforts  having  been  previously 
made  to  repeal  the  old  laws)  was  equally  vain ;  a 
majority  of  the  people  were  opposed  to  such  exhibi 
tions  and  entertainments.  They  considered  them  as 
calculated  rather  to  corrupt  than  to  improve  the  heart. 
They  said:  "They  claimed,  indeed,  to  be  innocent 
amusements ;  but  they  believed  them  the  means  of  dis 
seminating  licentious  maxims,  and  tending  to  immor 
ality  of  conduct." 

In  1775,  the  British  army  in  Boston  received  a 
powerful  reinforcement  from  England  under  Generals 
Howe,  Clinton,  and  Burgoyne.  General  John  Bur- 
goyne  was  a  dramatic  author,  and  in  the  year  1774,  the 
"  Maid  of  the  Oaks,"  a  very  indifferent  composition 
from  his  pen  was  performed  at  Drury  Lane.  On  his 
arrival  in  this  country,  to  relieve  the  tedium  of  head 
quarters,  he  produced  his  second  drama,  called  the 
"Blockade  of  Boston."  The  English  army  at  the 
time  was  beleaguered  in  the  city  by  the  American 
militia ;  and  this  piece  was  written  with  a  view  of 
inspiring  his  men  with  due  contempt  for  the  enemy,  and 


4  RECORD    OF   THE    BOSTON    STAGE. 

performed  in  Faneuil  Hall.     One  of  the  programmes 
read  as  follows  :  — 

On  Saturday  next,  will  be  performed  by  a  society  of  ladies  and 
gentlemen,  at  Faneuil  Hall,  the  "  Tragedy  of  Zara."  The  expense 
of  the  house  being  paid,  the  overplus  will  be  applied  to  the  benefit 
of  the  widows  and  children  of  the  soldiers.  Pit  one  dollar ;  gallery 
quarter  of  a  dollar.  Doors  to  be  opened  at  five,  and  begin  pre 
cisely  at  six  o'clock.  —  Vivant  Rex  et  Regina. 

Burgoyne's  play  was  probably  frequently  played,  for 
the  military  are  proverbially  fond  of  the  stage,  and 
many  actors,  who  have  become  oraments  to  the  profes 
sion,  can  date  their  first  appearance  at  the  theatre  of 
the  barracks.  It  is  related,  that  during  one  perform 
ance  of  the  "  Blockade  of  Boston,"  probably  in  March, 
1776,  prior  to  the  evacuation  of  the  city,  a  very  curi 
ous  scene  occurred.  In  one  of  its  merriest  scenes,  a 
sergeant,  without  his  hat,  and  in  the  wildest  confusion, 
suddenly  rushed  on  the  stage,  and  shouted  in  a  voice  of 
thunder,  "the  rebels  —  the  rebels  —  they're  attacking 
the  Neck ! "  which  the  audience  supposing  to  be  a  part 
of  the  piece,  applauded  very  loudly,  being  struck  with 
the  soldier's  highly  natural  acting,  A  few  minutes 
afterwards  the  beating  of  drums  served  to  break  the 
illusion,  and  the  scampering  off  of  the  actors,  put  an 
end  to  the  play. 

The  prohibitory  law  was  reen acted  in  1784,  and 
though  theatres  were  in  full  success  in  New  York  and 
Philadelphia,  no  attempt  was  made  in  this  city  to 
establish  one  till  the  5th  of  June,  1790,  when  Hallam 
and  Henry  presented  a  petition  to  the  Legislature, 
praying  for  leave  "  to  open  a  theatre  in  Boston  under 
proper  regulations;"  but  the  petition  was  not  con- 


RECORD  OF  THE  BOSTON  STAGE.         5 

sidered.  The  leading  residents  of  Boston,  many  of 
whom  were  above  the  vulgar  prejudices  of  the  day,  in 
regard  to  theatrical  representations,  and  who  possessed 
a  taste  for  refined  pleasures,  in  the  autumn  of  1791, 
brought  this  subject  by  a  special  warrant  before  the 
town  meeting.  An  attempt  was  made  to  postpone  any 
consideration  of  the  subject,  but  a  majority  were  in 
favor  of  it,  and  instructions  were  adopted  at  an 
adjourned  meeting,  requested  the  representatives  to 
the  general  court,  to  effect  a  repeal  of  the  law,  the 
instructions  stating  that,  "  A  theatre,  where  the  actions 
of  great  and  virtuous  men  are  represented,  under  every 
possible  embellishment  which  genius  and  eloquence  can 
give,  will  not  only  afford  a  rational  and  innocent  amuse 
ment,  but  essentially  advance  the  interests  of  private 
and  political  virtue ;  will  have  a  tendency  to  polish  the 
manners  and  habits  of  society,  to  disseminate  the  social 
affections,  and  to  improve  and  refine  the  literary  taste 
of  our  rising  republic." 

Shortly  after  the  opening  of  the  legislature  in  Janu 
ary,  1792,  Mr.  Tudor,  one  of  the  representatives  from 
Boston,  brought  the  subject  up.  "  After  stating  the 
reasons,"  says  Mr.  Buckingham  in  the  New  England 
Magazine,  "  which  had  induced  him  thus  early  to  rise, 
he  read  the  law  prohibiting  theatrical  entertainments, 
and  moved  that  a  committee  be  appointed  to  consider 
the  expediency  of  bringing  in  a  bill  to  repeal  it.  No 
person  rose  to  speak  on  the  motion ;  the  question  was 
called  for,  and  decided  in  the  negative,  47  to  69.  On 
the  speaker's  declaring  the  vote  in  the  negative,  Mr. 
Gardner,  of  Hallowell,  moved  for  a  reconsideration. 
His  motion  was  advocated  by  Messrs.  Wldgery,  Beck, 


6         RECORD  OF  THE  BOSTON  STAGE. 

and  Jarvis.  The  question  of  reconsideration  was  finally 
carried,  71  to  33,  and  the  subject  was  committed  to 
Messrs.  Gardiner,  Greenleaf,  Hichborn,  Bowers,  Flagg, 
Washburn,  and  Kingley.  A  remonstrance  against  the 
repeal  had  been  presented  to  the  House,  by  sundry 
inhabitants  of  Boston,  and  was  referred  to  the  same 
committee.  Mr.  Gardiner  on  the  20th,  reported  ver 
bally,  that  it  was  inexpedient  to  repeal  the  law.  He 
remarked  that  the  committee  consisted  of  seven  mem 
bers,  that  two  were  decidedly  against  the  repeal,  that 
two  others  had  voted  against  it,  but  acknowledged  that 
they  were  not  perfectly  acquainted  with  the  whole 
nature  and  tendency  of  stage-plays  :  and  that  himself 
and  the  other  two  members  were  in  favor  of  repealing 
it.  On  the  25th,  the  report  of  the  committee  was 
called  up  as  the  order  of  the  day.  Mr.  Tudor  opposed 
the  acceptance  of  it,  and  Mr.  Gardiner  followed  in  an 
elaborate  speech  of  several  hours  duration  in  opposi 
tion  to  the  report.  Dr.  Jarvis,  and  others,  advocated 
the  same  opinion.  There  was  no  reply  —  but  when 
the  question  was  taken,  the  law  was  sustained  by  ac 
cepting  the  report,  99  to  44." 

The  friends  of  the  drama,  however,  were  determined 
to  encourage  theatricals,  and  probably  thought  that  the 
only  way  to  show  their  opponents  the  folly  of  their 
course  was  to  present  them  with  an  opportunity  for 
enlightenment.  A  committee  composed  of  Joseph 
Russell,  Esq.,  General  Henry  Jackson,  Joseph  Barrell, 
Dr.  Jarvis,  and  Joseph  Russell,  Jr.,  built  at  their  own 
expense  in  Board  Alley,  now  Hawley  street,  (originally 
a  path  through  a  pasture  made  by  the  worshippers  at 
Trinity  Church,  who  resided  in  King  street,  —  and 


RECORD    OF    THE    BOSTON    STAGE.  7 

called  Board  Alley  from  the  fact  that  it  was  subse 
quently  boarded  over,)  a  theatre,  in  every  thing  but  the 
name,  and  call  it  the  "New  Exhibition  Room."  It 
was  capable  of  holding  five  hundred  persons.  On  the 
10th  of  August,  1792,  it  was  opened  under  the  manage 
ment  of  Mr.  J.  Harper.  The  following  is  the  opening 
bill:  — 

NEW  EXHIBITION  BOOM. 

BOARD   ALLEY. 

Feats  of  Activity. 

This  Evening,  the  10th  of  August,  will  be  exhibited  Dancing  on 
the  Tight  Rope  by  Monsieurs  Placide  and  Martin.    Mons.  Placide 
will  dance  a  Hornpipe  on  a  Tight  Rope,  play  the  Violin  in  various 
attitudes,  and  jump  over  a  cane  backwards  and  forwards. 
INTRODUCTORY  ADDRESS 

BY   MR.   HARPER. 

SINGING 
BY   MR.   WOOLS. 

Various  feats  of  tumbling,  by  Mons.  Placide  and  Martine,  who 
will  make  somersetts  backwards  and  forwards  over  a  Table, 
Chair,  &c. 

Mons.  Martin  will  exhibit  several  Feats  on  the  Slack  Rope. 

In  the  course  of  the  Evening's  Entertainments,  will  be  delivered 
THE  GALLERY  OF  PORTRAITS, 

OR 

THE  WORLD  AS  IT  GOES, 

BY   MR.    HARPER. 

The  whole  to  conclude  with  a  Dancing  Ballet,  called 

THE  BIRD  CATCHER. 
With  the  Minuet  de  la  Cour,  and  the  Gavot, 

BY   MOXS.   AND   MADAME   PLACIDE. 

HP^  Doors  to  be  opened  at  seven  o'clock,  and  the  exhibition  to 
begin  precisely  at  half  after  seven. 

\£T  Tickets  at  6s.  First  Seats,  4-6  Second  Seats,  and  3s.  Third 
Seats,  may  be  had  at  the  Post  Office,  at  J.  Leverell's,  Marlborough 
street,  and  at  B.  Russell's  Printing  Office,  State  street,  of  whom  the 
first  seats  may  be  taken  from  the  hours  of  10  till  1,  A.  M.,  and  from 
3  till  5,  P.  M.,  on  Exhibition  Days. 

N.  B.  —  Ladies  and  Gentlemen  are  requested  to  order  their  servants 


8  RECORD    OF   THE    BOSTON    STAGE. 

to  set  down  and  take  up  with  their  horses'  heads  towards  Summer 
street. 

The  performances  were  similar  to  the  above  for  some 
time,  and  the  writers  in  the  papers  stated  that  the 
promised  influence  upon  the  morals  of  the  community 
was  not  so  great  as  anticipated,  and  expressed  the 
opinion  that  the  tight  rope  applied  to  the  legs  is  not  so 
effectual,  to  refine  the  morals  of  the  people,  as  the  old 
fashioned  way  of  applying  it  to  the  neck,  practised  in 
other  countries. 

The  tight  rope  dancing,  however,  was  soon  super 
seded  by  plays,  given  under  the  title  of  Moral  Lectures. 
Garrick's  farce  of  "  Lethe  "  was  produced  as  a  satirical 
lecture  called  Lethe,  or  ./Esop  in  the  Shades,  by  Mr. 
Watts,  Mr.  and  Mrs.  Solomon.  Otway's  "  Venice  Pre 
served  "  was  announced  as  "  A  Moral  lecture  in  five 
parts,  in  which  the  dreadful  effects  of  conspiracy  will 
be  exemplified."  The  "  West  Indian,"  "  Poor  Soldier," 
"  Rosina,"  "  Love  in  a  Village,"  "  Romeo  and  Juliet," 
"  Hamlet,"  were  also  performed,  as  moral  lectures.  The 
bills,  announcing  these  moral  lectures,  were  written  with 
considerable  tact.  We  have  a  copy  of  a  bill  of  "  Othel 
lo"  produced  in  this  disguise  at  Newport,  R.  I.,  similar 
undoubtedly  to  those  at  the  Exhibition  Room,  which 
is  as  follows :  — 

KINGS  ARMS   TAVERN  —  NEWPORT  —  RHODE  ISLAND. 

On  Monday,  June  10th,  at  the  Public  Room  of  the  above  Inn,  will  be 

delivered  a  series  of 
MORAL   DIALOGUES, 

IN  FIVE   PARTS, 

Depicting  the  evil  effects  of  jealousy,  and  other  bad  passions,  and 
proving  that  happiness  can  only  spring  from  the  pursuit  of  virtue. 
Mr.  Douglas  —  will  represent  a  noble  and  magnanimous  Moor, 


RECORD  OF  THE  BOSTON  STAGE.        9 

called  Othello,  who  loves  a  young  lady  named  Desdemona,  and  after 
he  has  married  her,  harbors  (as  in  too  many  cases)  the  dreadful  pas 
sion  of  jealousy. 

Of  jealousy,  our  being's  bane, 

Mark  the  small  cause,  and  the  most  dreadful  pain. 

Mr.  Allyn  —  will  depict  the  character  of  a  specious  villain,  in  the 
regiment  of  Othello,  who  is  so  base  as  to  hate  his  commander  on 
mere  suspicion,  and  to  impose  on  his  best  friend.  Of  such  charac 
ters,  it  is  to  be  feared,  there  are  thousands  in  the  world,  and  the 
one  in  question  may  present  to  us  a  salutary  warning. 

The  man  that  wrongs  his  master  and  his  friend, 
What  can  he  come  to  but  a  shameful  end  ? 

Mr,  Hallam  —  will  delineate  a  young  and  thoughtful  officer,  who 
is  traduced  by  Mr.  Allyn,  and  getting  drunk,  loses  his  situation  and  his 
general's  esteem.  All  young  men,  whatsoever,  take  example  from 
Cassio. 

The  ill  effects  of  drinking  would  you  see  ? 
Be  warn'd,  and  fly  from  evil  company. 

Mr.  Morris  —  will  represent  an  old  gentleman,  the  father  of 
Desdemona,  who  is  not  cruel  or  covetous,  but  is  foolish  enough  to 
dislike  the  noble  Moor,  his  son-in-law,  because  his  face  is  not  white,, 
forgetting  that  we  all  spring  from  one  root.  Such  prejudices  are 
very  numerous,  and  very  wrong. 

Fathers  beware  what  sense  and  love  ye  lack, 
'Tis  crime,  not  color,  makes  the  being  black. 

Mr.  Quelch  —  will  depict  a  fool,  who  wishes  to  become  a  knave, 
and  trusting  to  one,  gets  killed  by  him.  Such  is  the  friendship  of 
rogues — take  heed. 

When  fools  would  knaves  become,  how  often  you'll 
Perceive  the  knave  not  wiser  than  the  fool. 

Mrs.  Morris  —  will  represent  a  young  and  virtuous  wife,  who 
being  wrongfully  suspected,  gets  smothered  (in  an  adjoining  room) 
by  her  husband. 

Reader,  attend  ;  and  e'er  thou  goest  hence 
Let  fall  a  tear  to  helpless  innocence. 

Mrs.  Douglas  —  will  be  her  faithful  attendant,  who  will  hold  out  a 


10  RECORD    OF    THE    BOSTON    STAGE. 

good  example  to  all  servants,  male  and  female,  and  to  all  people  in 
subjection. 

Obedience  and  gratitude 

Are  things  as  rare  as  they  are  good. 

Various  other  dialogues,  too  numerous  to  mention  here,  will  be 
delivered  at  night,  all  adapted  to  the  improvement  of  the  mind  and 
manners.  The  whole  will  be  repeated  on  Wednesday  and  Saturday. 
Tickets  six  shilling  each,  to  be  had  within.  Commencement  at 
seven,  conclusion  at  half-past  ten,  in  order  that  every  spectator  may 
go  home  at  a  sober  hour,  and  reflect  upon  what  he  has  seen  before  he 
retires  to  rest. 

God  save  the  king, 

And  long  may  he  sway 
East,  north,  and  south, 
And  fair  America. 

Many  have  undoubtedly  witnessed  "  Othello,"  without 
T)eing  aware  of  the  many  moral  lessons  it  inculcates. 
At  the  Board  Alley  Theatre  on  the  5th  of  October  was 
presented,  "  A  Moral  Lecture  announced  in  five  parts," 
wherein,  (says  the  bill,)  the  pernicious  tendency  of 
libertinism  will  be  exemplified  in  the  "  Tragical  History 
of  George  Barnwell,  or  the  London  Merchant." 

Learn  to  be  wise,  by  others  harm, 
And  ye  shall  do  full  will.  —  LILLO. 

Delivered  by  Messrs.  Harper,  Morris,  Watt,  Murrey, 
.Solomons,  Redfield,  Miss  Smith,  Mrs.  Solomon,  and 
Mrs.  Gray. 

The  company  consisted  of  Mons.  Placide,  Mr.  Woods, 
Mr.  and  Mrs.  Morris,  Mr.  and  Mrs.  Solomon,  Messrs. 
Robert,  Adams,  Watts,  Jones,  Redfield,  Tucker,  Kenny, 
Murray,  Powell,  Mrs.  Gray,  Miss  Smith,  Miss  Chap 
man,  and  the  performances  had  some  claims  to  the 
character  of  intellectual  entertainments.  The  oppo 
nents  of  theatricals  were  struck  with  terror,  and  many 
gave  vent  to  their  indignation  at  this  open  and  bold 


RECORD    OF   THE   BOSTON   STAGE  11 

example  of  disrespect  for  the  laws,  through  the  columns 
of  the  newspapers.  A  writer  in  the  Chronicle,  Nov. 
22d,  indignant  not  only  that  foreigners,  —  most  of  the 
actors  being  English,  —  should  palm  themselves  on  a 
republican  people,  but  also  with  "  tales  of  love  between 
my  Lord  and  Lady,  or  Sir  Charles  and  his  Maid "  in 
this  land  of  liberty  and  equality,  —  thus  versifies:-— 

"  Bostonians 

Shall  a  lawless  Bandittis,  faces, 
The  refuge  of  a  degenerate  people 
Pass  unnoticed,  and  be  suffered 
To  triumph  over  the  opinions 
And  the  long,  well  established  maxims 
Of  our  venerable  ancestors  ?  — 
Shall  vile  minions,  from  a  foreign  land 
Affect  to  treat  with  open,  marked  contempt 
The  mild  influence  of  our  government 
In  the  prevention  of  those  evils 
Which  experience  and  well  known  prudence 
Long  since  stampt  by  the  slow  finger  of  time 
With  wisdom  and  success  ? 
What  insult  is  not  to  be  awaited 
From  men,  who,  regardless  of  their  honor 
Trample  upon  our  laws  —  our  sacred  rights,  — 
When  the  history  of  whose  lives  would  put 
Modesty  and  every  kindred:  virtue 
To  the  blush!" 

Soon  after  the  opening  of  the  theatre,  the  Supreme 
Judicial  Court  was  in  session  in  Boston,  and  the  matter 
was  laid  before  the  Grand  Jury,  but  they  did  not  return  a 
bill  of  presentment ;  and  as  informers  were  less  inclined 
to  do  the  small  work  of  pseudo  reformers  than  they  are 
now-a-days,  the  manager  enjoyed  a  feeling  of  security, 
and  was  congratulating  himself  upon  his  excellent  busi 
ness  ;  for  the  little  box  was  crowded  nightly,  when  an 


12  RECORD    OF   THE    BOSTON    STAGE. 

event  occurred  which  temporarily  checked  the  fortunes 
of  the  drama. 

Just  after  the  first  act  of  the  play  had  been  per 
formed,  on  the  5th  of  December,  1792,  the  sheriff,  in 
pursuance  of  a  warrant  from  their  Honors,  Justice 
Greenleaf  and  Barrett,  to  apprehend  sundry  persons, 
said  to  be  infractors  of  the  law  against  theatrical 
entertainments,  executed  his  duty  so  far  as  Mr.  Harper 
was  concerned,  being  obliged  to  return  non  inventus  on 
others  included  in  the  warrant.  The  audience  finding 
themselves  baulked,  were  uproarious.  Governor  Han 
cock  was  always  a  bitter  opponent  of  the  theatre,  and, ' 
supposing  that  the  arrest  was  made  at  his  instigation, 
the  spectators  leaped  on  to  the  stage,  tore  down  the 
arms  of  the  State  which  decorated  a  tablet,  and  trod 
under  foot  a  portrait  of  Hancock,  which  hung  in  front 
of  the  stage  box. 

Judge  Tudor  exhorted  the  audience  to  be  orderly, 
and  several  gentlemen  immediately  came  forward  and 
became  bound  for  the  appearance  of  Harper ;  and  at 
the  request  of  the  manager,  the  audience  quietly  with 
drew,  receiving  their  entrance  money. 

We  have  heard  another  version  of  this  affair,  which 
implicates  one  Mr.  Jerry  Allen,  who  was  the  sheriff  at 
the  time.  It  is  said,  that  after  Allen  had  done  his  duty, 
and  taken  several  gentlemen  as  surety  for  Harper's  ap 
pearance,  that  he  was  induced,  by  a  few  of  his  private 
friends  with  whom  he  was  on  good  terms,  to  take  a  seat 
and  witness  the  rest  of  the  performances,  which  he  did, 
greatly  to  the  amusement  of  those  present.  Sheriff 
Allen  was  a  fine  specimen  of  a  Bachelor,  who  loved  his 
fish  dinners  on  Saturdays,  and  rarely  partook  of  them, 


RECORD    OF   THE   BOSTON    STAGE.  13 

unless  surrounded  at  his  residence  by  a  dozen  or  more 
choice  spirits,  whose  judgment  upon  wines  ^nd  dainties , 
was  not  to  be  disputed.  We  are  inclined  to  believe, 
however,  from  information  in  our  possession,  that  the 
play  did  not  proceed,  and  that  sheriff  Allen  executed 
his  duty  with  becoming  dignity,  and  retired  from  the 
theatre  with  due  respect  for  his  office. 

The  examination  was  held  in  "  Faneuil  Hall,"  which 
was  thought  most  proper  to  proceed  to  business  in,  as 
his  Honor  Justice  Greenleaf 's  official  chamber  would 
not  admit  the  numerous  spectators  who  waited  with 
anxious  expectation  the  result  of  this  important  inquiry. 
Attorney  Sullivan  read  a  special  order  from  Governor 
Hancock.  O.  G.  Otis,  counsel  for  Harper,  objected  to 
the  legality  of  the  warrant,  as  contrary  to  the  four 
teenth  article  of  the  Declaration  of  Rights,  which 
requires  that  no  warrant  shall  be  issued  except  upon 
complaints  made  on  oath.  Mr.  Tudor,  also,  of  his 
council,  supported  Mr.  Otis,  which  point  was  combated 
by  Mr.  Sullivan.  The  justices  acceded,  and  the  defend 
ant  was  discharged  amid  loud  applause.  A  few  days 
after  this  transaction,  the  legislature,  owing  to  the 
prevalence  of  the  small  pox  in  Boston,  met  at  Concord, 
when  Governor  Hancock  made  allusion  to  "an  open 
insult  upon  the  laws  and  government  of  the  Common 
wealth,"  and  recommended  a  more  rigid  enforcement  of 
them  for  the  future. 

It  does  not  appear  that  any  further  prosecution  was 
made,  although  the  law  was  to  remain  in  force  till  1797. 
Governor  Hancock  was  at  the  time  in  very  feeble 
health,  and  died  the  following  October.  The  law 
became  a  dead  letter,  and  was  subsequently  repealed. 


14  RECORD    OF    THE    BOSTON    STAGE. 

Before  the  completion  of  the  Exhibition  Room, 
Charles  Stuart  Powell  arrived  in  Boston,  and  gave 
public  entertainments.  The  following  is  his  advertise 
ment  :  — 

At  Concert  Hall,  on  Monday,  August  13th,  ('92,)  Wednesday, 
15th.  and  Friday,  17th,  will  be  presented,  for  the  first  time  here,  by 
Mr.  Powell,  from  the  Theatre  Eoyal,  Covent  Garden,  a  favorite 
Pasticcio,  called  "  THE  EVENING  BRUSH,  for  rubbing  off  the  Rust  of 
Care." 

The  Chief  Subjects  of  Laughter :    Modern  Spouters,  Stage  Candi 
dates,  Tragedy  Tailors,  Wooden  Actors,  Butchers  in  Heroics,  Buf-  / 
foons  in  Blank  Verse,  Bagglers,  and  Blunderers,  &c. 

Laughter,  with  reason, 

Is  surely  no  treason, 
Proportion  of  grace  can  have  no  cause  to  blush  ; 

And  the  sons  of  true  merit 

No  grudge  can  inherit, 
To  see  rank  impostors  exposed  by  the  Brush. 

With  a  contrasted  set  of  original  Songs ;  particularly  the  Tragi 
comedy  of  Human  Life;  the  Koman  Veteran,  or  Date  Obolum 
Bellisario;  the  Golden  Days  of  Good  Queen  Bess,  &c.  The  whole 
to  conclude  with  a  Whimsical  Transformation,  or  Humorous  Dwarf 
Dance.  Tickets  half  a  dollar,  &c. 

Mr.  Powell  appeared  at  the  Exhibition  Room,  and 
gave  his  "  Brush,"  and  his  name  will  frequently  appear 
in  subsequent  chapters.  At  the  Board  Alley  Theatre, 
the  "  Contrast,"  a  comedy  in  five  acts,  the  first  Ameri 
can  play  ever  produced  by  a  regular  company  of  co 
medians,  was  performed.  It  was  written  by  Royal 
Tyler,  Esq.,  of  Vermont,  and  originally  produced  on 
the  16th  of  April,  1786,  in  New  York.  It  was  quite 
a  popular  piece,  and,  in  1790,  was  published  by  sub 
scription.  The  Board  Alley  Theatre  was  in  full  opera 
tion  till  the  middle  of  June,  1793.  On  the  14th,  Mr. 
Powell  gave  his  "  Brush,"  and  in  the  advertisement 


RECOKD    OF   THE    BOSTON    STAGE.  15 

regrets  lie  cannot  present  a  farce,  as  the  company  have 
left  town.     He  concludes  by  saying  :  — 

"  The  public  may  rest  assured,  this  will  be  positively  and  defi 
nitely  the  last  night  of  performing  this  season,  as  the  house  will  be 
taken  down  on  Saturday." 

The  Board  Alley  Theatre  proved  so  successful,  and 
met  with  such  encouragement,  that  it  was  determined 
to  erect  another,  on  a  larger  and  better  scale.  An 
association  was  formed,  on  the  joint  stock  principle, 
comprising  the  liberal  and  wealthy  citizens  of  Boston, 
and  Messrs.  Perez  Morton,  Joseph  Russell,  Samuel 
Brown,  Charles  Bulfinch,  and  Henry  Jackson,  were  the 
trustees,  who  took  measures  for  building  the  Boston 
Theatre,  which  was  in  process  of  erection  during  the 
year  1793. 

After  the  destruction  of  the  Board  Alley  Theatre, 
entertainments  were  given  at  Mr.  Bryant's  Hall.  One 
of  these  must  have  been  of  a  unique  character,  judging 
from  the  announcement,  which  promises  that  — 

"  Master  Henry,  from  London,  will  walk  on  his  belly  in  the  shape 
of  a  camel.  Master  Manly  Avill  balance  his  whole  body  on  the  edge 
of  a  candle-stick,  without  the  assistance  of  hand  or  foot.  He  will 
pick  up  two  pins  with  his  eyes,  and  a  dollar  at  the  same  time  with 
his  mouth;  rolls  like  a  whale  in  the  sea." 

Entertainments  of  a  more  refined  character,  were 
soon  provided  for  the  citizens  at  the  Boston  Theatre.  In 
the  year  1792,  a  pamphlet  was  published  in  this  city 
by  Young  &  Etheridge,  Market  Square,  with  the  follow 
ing  title :  "  Effects  of  the  Stage  on  the  Manners  of  the 
People  ;  and  the  Propriety  of  Encouraging  and  Estab 
lishing  a  Virtuous  Theatre :  By  a  Bostonian."  The 
copy-right  is  taken  out  by  William  Haliburton,  of  the' 


16  RECORD    OP   THE    BOSTON    STAGE. 

District  of  Massachusetts,  and  the  contents  are  worthy 
of  a  passing  notice,  if  from  their  singularity  only. 
The  author  states,  that  "as  the  theatre  is  once 
more  become  the  theme  of  general  conversation,  and 
the  minds  of  many  appear  to  be  filled  and  agitated 
with  the  subject,  it  will  not  be  improper  to  throw 
together  a  few  observations  on  the  Stage."  The  author 
then  states  his  ideas,  and  in  the  course  of  his  remarks, 
says :  — 

"  If  only  a  theatre  were  wanting,  a  semicircle  would  be  the  most 
commodious  form ;  but  as  other,  and  greater  advantages  are  intended, 
it  would  come  cheaper,  appear  more  beautiful,  be  more  commodious, 
useful  and  durable  in  the  form  of  a  fourteen-sided  figure. 

"  The  building  should  be  surrounded  with  a  piazza,  whose  pillars, 
at  twelve  feet  distance,  should  help  support  a  grand  dome  or  roof, 
and  add  dignity  to  the  whole  figure ;  so  contrived  as  to  admit  the 
light  and  let  out  the  heated  air ;  the  whole  body  of  the  building  to 
be  furnished  with  windows,  posited  so  as  to  be  seen  in  the  spaces 
between  the  surrounding  pillars,  also  a  small  seat  or  bench,  at 
tached  to  the  building,  and  carried  from  door  to  door,  for  the  con 
venience  of  sitting  under  the  piazza;  a  narrow  coach  road  to 
surround  the  whole,  lamps  on  every  corner  pillar,  and,  if  it  could  be 
obtained,  a  garden  of  twenty,  twenty-five,  or  thirty  feet  width,  laid 
round  the  coach  road,  from  gate  to  gate,  stocked  with  beautiful 
flowers  and  aromatic  herbs ;  which  will  serve  to  regale  several  senses 
at  once.  Thus  the  piazza  would  become  one  of  the  most  healthy  and 
delightful  walks  in  the  world,  and  the  gentlemen  and  ladies  would 
be  there  sheltered  from  rain. 

"  Full  half  the  building  being  reserved  for  the  theatre,  a  thirty 
'feet  passage  gives  ascent  at  each  end  to  large  stair-cases,  com 
municating  with  the  several  apartments  and  galleries,  the  said  pas 
sage  ornamented  by  three  noble  arches  with  pendant  lamps.  The 
'-first  floor  on  one  side,  will  accommodate  the  whole  legislative  assem 
bly,  in  separate  chambers,  (with  convenient  offices  and  committee 
rooms  adjoining,)  where  they  may  deliberate  free  from  the  noise  of 
•  carriages,  &c. 

"  Some  will  object  to  the  legislature  sitting  in  such  a  building!  It 
is  asked,  would  they  object  to  sitting  and  deliberating  in  a  temple  or 
place  of  worship  ?  No,  such  places  are  intended  to  make  men  good  ! 


RECORD    OF   THE   BOSTON    STAGE.  17 

This  also  is  intended  to  suppress  vice,  and  advance  virtue;  and 
serves  likewise  to  make  men  better,  and  more  virtuous. 

"  Moreover  this  costs  nothing ;  will  be  equally  or  more  commodious 
than  any  other  building  they  can  erect  or  purchase ;  and  the  assem 
bly  will  be  actually  at  the  distance  of  sixty  feet  from  the  theatre, 
with  no  less  than  three  intervening  walls  of  brick.  Exhibitions  are 
only  in  the  night  time,  the  assembly  sits  but  seldom  and  rarely  in 
the  night ;  but  any  inconvenience  on  that  score  may  be  obviated,  by 
sitting  down  the  company  at  a  distance,  or  even  preventing  exhibi 
tions  on  such  nights. 

"  The  second  floor  may  be  an  assembly  room,  handsomely  decor 
ated  for  the  gentlemen  and  ladies,  and  serve  also  the  purpose  of  a 
noble  large  dining-room,  when  celebrating  the  great  events  of  the 
nation,  accommodated  by  with-drawing-rooms,  as  on  the  floor  below. 
The  third  story  will  serve  for  a  military  hall,  and  other  purposes. 
That  part  of  the  building  devoted  to  the  theatre,  will  save  to  the 
town  the  great  expense  of  building  a  hall  for  town  meetings,  being 
very  capacious,  lightsome  and  excellently  fitted  for  such  use ;  the 
galleries  will  be  so  constructed,  that  the  feeblest  voice  below,  will  be 
very  audible,  and  distinctly  heard  in  those  galleries. 

"  It  is  designed  to  have  a  lower  floor  that  will  contain  two  thousand 
spectators,  and  three  galleries  to  contain  fifteen  hundred,  fifteen  hun 
dred,  and  twelve  hundred  spectators  in  five  distinctions  of  seats  inclu 
sive  of  the  pit ;  the  prices  thus :  one  shilling,  eighteen  pence,  two  shill 
ings,  two  and  sixpence,  and  three  shillings  —  or,  may  be  varied  as  pru 
dence  shall  suggest;  total  price  of  the  several  seats,  including  the  pit, 
is  ten  shillings,  which,  divided  by  five,  gives  two  shillings  as  the  aver 
age  price  of  tickets ;  multiplied  by  six  thousand,  give  two  thousand 
dollars  for  one  night  of  a  full  theatre ;  out  of  which  deduct  the  propor 
tionate  share  of  the  annual  sum  due  for  principal  on  the  building  and 
the  interest,  the  proportion  of  salaries,  payments  to  authors,  and  other 
incidental  expenses,  and  there  will  remain  a  large  sum,  to  be  applied 
to  promoting  manufactures,  employing  the  able,  and  maintaining  the 
helpless  poor.  If  the  legislature  of  Massachusetts  established  such  a 
theatre,  and  take  proper  measures  to  procure  persons  for  actors  who  are 
really  excellent  in  their  way,  and  make  the  most  wholesome  regula 
tions  for  the  government  thereof,  its  effects  on  the  manners  of  the 
people,  must  be  truly  astonishing.  History  will  undoubtedly  mark  an 
era  so  favorable  to  the  intellectual  powers  of  man,  in  this  western 
world.  Not  only  the  governors  of  the  State,  but  all  the  members  of 
that  patriotic  assembly,  will  be  recorded  as  promoters  of  a  design  so 
grand  and  so  beneficial.  The  first  actors  and  managers,  will  be  ateo 
2 


18  RECORD    OF  THE   BOSTON   STAGE. 

eternized;  and  the  history  of  the  stage  will  ever  after  have  a  con 
spicuous  place  in  the  History  of  America." 

He  also  proposed  to  give  free  admission  as  a  reward 
of  merit  to  poor  citizens  who  conducted  themselves 
well.  The  ideas  of  the  author  were  in  advance  of  the 
times,  however,  and  his  plans  were  not  listened  to. 


CHAPTER   II. 

'Opening  of  the  Boston  Theatre.  —  Description  of  the  Building. — 
First  Bill.—  Snelling  Powell.  — Mrs.  Powell.  — The  Prize  Pro 
logue.  —  The  Early  Critics  of  Boston.  —  Col.  J.  S.  Tyler's  Manage 
ment.  —  The  New  York  Company.  —  Hodgkinson  and  Hallam.— 
First  Performance  of  Macbeth.  —  Death  of  Joseph  Russell. — 
Anecdotes  of  Cleveland,  and  "King  Kenny."  —  Biographical 
Sketch  of  John  Hodgkinson.  —  The  Introduction  of  various  Cus 
toms.  —  Respect  of  the  Managers  for  Religion,  &c.,  &c. 

THE  opening  of  the  Boston  Theatre,  in  Federal 
street,  marks  an  era  in  the  history  of  the  drama  of  this 
city.  The  change  in  public  opinion,  which  at  that  time 
took  place,  was  the  dawn  of  that  spirit  of  liberality 
which  has  since  infused  itself  into  our  local  institutions. 
It  gave  an  impetus  to  theatrical  representations  by 
allowing  temples  to  be  dedicated  to  Thalia,  and  Melope- 
mene,  and  fostered  a  taste  for  this  innocent  and  instruc 
tive  amusement,  which  has  been  cultivated,  wherever 
civilization  has  shed  its  illumined  rays  of  wisdom,  by 
men  of  purity,  intellect,  and  genius.  The  establishment 


RECORD    OF  THE   BOSTON    STAGE.  19 

of  a  theatre  on  a  firm  basis,  —  the  most  respectable 
citizens  being  among  its  stockholders,  —  was  regarded 
"  as  the  triumph  of  taste  and  liberal  feeling  over  bigo 
try  and  prejudice ; "  and  the  record  of  Boston  theat 
ricals  commences  with  the  opening  of  its  doors  on  the 
3d  of  February,  1794,  under  the  management  of 
Messrs.  Charles  Stuart  Powell,  .(who  visited  England,  in 
1793,  to  procure  the  company,)  and  Baker,  assisted  by 
the  trustees,  who  retained  a  controlling  power  over 
the  affairs.  The  theatre  in  those  days  was  considered  a 
fine  specimen  of  architecture  and  creditable  to  the  archi 
tect,  Mr.  Bulfinch.  It  is  alluded  to  as  a  lofty  and 
spacious  edifice,  substantially  built  of  brick,  with  stone 
facias,  imposts,  &c.  It  was  one  hundred  and  forty  feet 
long,  sixty-one  feet  wide,  and  forty  feet  high.  The 
entrances  to  the  different  parts  of  the  house  were 
distinct,  and  at  the  time  the  opponents  of  the  theatre 
made  strong  use  of  this  fact,  alleging  that  by  affording 
a  special  door  to  that  portion  of  the  house,  usually  the 
resort  of  the  vile  of  both  sexes,  a  premium  on  vice 
was  offered.  In  the  front  there  was  a  projecting  arcade, 
which  enabled  carriages  to  land  company  under  cover. 
The  interior  of  the  building  was  tastefully  decorated. 
The  stage  opening  was  thirty-one  feet  wide,  ornamented 
on  each  side  by  two  columns,  and  between  them  a 
stage  door  and  projecting  iron  balcony.  Over  the 
columns  a  cornice  and  a  balustrade  were  carried  across 
the  opening;  above  was  painted  a  flow  of  crimson 
drapery,  and  the  arms  of  the  Union  and  of  the  State  of 
Massachusetts,  blended  with  emblems,  tragic  and  comic. 
A  ribbon  depending  from  the  arms,  bore  the  motto,  "  All 
the  world's  a  stage."  At  the  end  of  the  building  a 


20  RECORD    OF   THE   BOSTON    STAGE. 

noble  and  elegant  dancing  room  was  constructed.  This 
was  fifty-eight  feet  long,  thirty-six  wide,  and  twenty- 
six  high,  richly  ornamented  with  Corinthian  columns 
and  pilasters.  There  were  also  spacious  card  and  tea 
rooms,  and  kitchens  with  proper  conveniences. 

The  performances  on  the  opening  night  were  as 
follows :  — 

NEW  THEATRE. 

Mr.  Powell  takes  this  opportunity  of  acquainting  the  Ladies  and 
Gentlemen  of  Boston,  and  its  vicinity,  that  the  new  and  elegant 
THEATRE  will  open 

THIS    EVENING 

With  the  truly  Republican  Tragedy  of 
GUSTAVUS  VASA; 

THE  DELIVERER  OF  HIS   COUNTRY. 

All  the  characters  (being  the  first  time  they  were  ever  performed 
by  the  present  company)  will  be  personated  by  Messrs.  Baker,  Jones, 
Collins,  Nelson,  Bartlett,  Powell,  S.  Powell,  and  Kenny;  Miss  Ham- 
son,  Mrs.  Jones,  Mrs.  Baker,  and  the  Child  by  Miss  Cordelia  Powell, 
being  her  first  appearance  on  any  stage. 

To  which  will  be  added  an  Entertainment,  called 
MODERN  ANTIQUES; 

OR,   THE   MERRY  MOURNERS. 

Mr.  and  Mrs.  Cockletop,  by  Mr.  Jones  and  Miss  Baker.  The  other 
characters,  by  Messrs.  S.  Powell,  Collins,  Nelson,  Baker,  &c.,  Mrs. 
Jones,  Mrs.  Baker,  and  Mrs.  Collins. 

As  we  shah1  ever  wish  to  give  what  we  conceive  to  be  the  most 
harmonic  to  the  soul,  and  congenial  to  the  general  sentiments  of  our 
brethren  of  the  land  we  live  in,  the  following  distribution  of  the 
music  will  precede  the  drawing  up  of  the  curtain: 

YANKEE  DOODLE. 

Grand  Battle  Overture  in  Henry  IV. 

General  Washington's  March. 

The  prefatory  Address,  by  Mr.  C.  Powell,  between  the  Acts. 
A  Grand  Symphony  by  Signor  Charles  Stametz;  Grand  Overture 
by  Signor  Vanhall;  Grand  Symphony  by  Signor  Haydn;  do.  by 
Charles  Ditters. 

D^="  Box  one  dollar;  PIT  3s.  9;  GALLERY  one  quarter  of  a  dollar. 
The  doors  will  be  opened  at  five,  and  the  curtain  drawn  up  pre 
cisely  at  six  o'clock. 


RECORD    OP   THE   BOSTON   STA(?E.  21 

Among  the  actors  above  enumerated  the  name  of 
Snelling  Powell  occurs.  He  was  born  in  Camarthen, 
Wales,  and  commenced  his  theatrical  career  at  an 
early  age.  His  father  was  a  manager  of  a  theatre, 
and  had  a  respectable  company  and  circuit.  Mr. 
Powell,  at  an  early  period  of  his  life,  devoted  his  atten 
tion  to  printing,  and  when  he  came  to  America,  in 
1793,  with  his  brother,  Charles  Stuart  Powell,  he 
brought  with  him  considerable  printing  apparatus, 
which  he  used  in  printing  the  programmes  of  the 
theatre.  His  name  will  occur  frequently  in  this  record. 
In  1794,  Mr.  Snelling  Powell  married  Miss  Elizabeth 
Harrison,  who  also  came  out  under  the  auspices  of 
Mr.  C.  S.  Powell.  This  lady  was  born  in  Maraison, 
the  county  of  Cornwall,  in  the  year  1774,  and  was  first 
cousin  to  Rev.  Henry  Martin,  an  eminent  divine.  Miss 
Harrison,  previous  to  her  visit  to  this  country,  appeared 
before  George  the  Third,  by  command;  and  she  had 
also  frequent  opportunities  of  performing  the  second 
characters  to  the  queen  of  tragedy,  Mrs.  Siddons, 
who  was  so  much  pleased  with  her  acting,  that  she 
obtained  permission  for  Miss  Harrison  to  accompany 
her  through  a  circuit  of  the  provincial  theatres.  She 
was  the  original  in  this  city,  as  will  be  seen,  of  many 
characters  which  still  retain  a  position  among  the 
favorite  theatrical  representations  of  the  day ;  and  her 
impersonations  of  Shakspeare's  heroines  entitle  her  to 
a  rank  among  the  highest  in  her  profession.  Mrs. 
Powell  died  in  December,  1843.  Charles  Stuart 
Powell,  (noticed  in  our  last  chapter  in  connection  with 
the  Brush,)  formerly  of  the  Theatre  Royal,  Covent 


22  BECORD    OF   THE   BOSTON    STAGE. 

Garden,  was  the  first  manager  of  the  Federal  Street 
Theatre. 

A  gold  medal  was  offered  for  the  best  written  pro 
logue,  and  the  prize  was  unanimously  adjudged  to  Tho 
mas  Paine,  then  only  eighteen  years  of  age,  who  after 
wards  took  the  name  of  his  father,  Robert  Treat  Paine, 
by  leave  of  the  legislature.  This  production  was  deliv 
ered  by  C.  S.  Powell  in  the  character  of  Apollo,  and 
was  highly  creditable  to  the  poet's  genius. 

The  theatre  was  crowded  on  the  opening  night.  It 
would  not  have  been  possible  to  have  selected  from  the 
whole  catalogue  of  English  plays  one  which  would  have 
been  more  appropriate  to  the  occasion  than  "  Gustavus 
Vasa,"  a  tragedy  by  H.  Brooke,  written  in  1739,  but 
which,  on  account  of  its  political  sentiments,  (admirably 
adapted,  however,  to  this  locality,  corresponding  as  it 
did  with  the  opinions  of  a  great  majority  of  the  citizens,) 
was  prohibited  to  be  played,  even  after  it  had  been  re 
hearsed  at  Drury  Lane.  The  author,  however,  was 
not  injured  by  the  prohibition  ;  for  on  publishing  the 
book  by  subscription,  he  cleared  a  thousand  pounds. 

The  theatre  was  well  patronized,  entertainments  be 
ing  given  three  evenings  each  week ;  and  in  order  to  con 
ciliate  the  more  rigid  inhabitants,  it  was  announced  that 
on  m>  account  would  the  evenings  fall  upon  those  devo 
ted  to  religious  services,  which  were  held  in  Rev.  Dr. 
Belknap's  church  in  the  same  street.  The  custom  was 
then  introduced,  which  prevailed  for  many  years,  of 
allowing  the  audience  to  call  upon  the  orchestra  for 
such  pieces  of  music  as  suited  the  popular  taste ;  and 
though  popularity  was  in  a  measure  obtained  by  allow 
ing  the  members  of  both  political  parties  to  hear  their 


RECORD    OF   THE   BOSTON    STAGE.  23 

favorite  airs,  oftentimes  indicative  of  party  spirit,  which 
then  ran  high,  it  was  the  source  of  much  confusion. 
In  Philadelphia,  about  the  same  time,  a  riot  occurred, 
owing  to  the  orchestra  refusing  to  respond  to  the  call ; 
seats  were  broken,  and  the  play  terminated.  No  diffi 
culty  of  this  kind,  however,  occurred,  though  Powell 
and  Baker  quarrelled;  and  the  latter,  with  his  wife, 
withdrew  from  the  company  after  a  few  months,  and 
gave  Dramatic  Olios  at  Concert  Hall.  The  season 
closed  on  the  fourth  of  July,  1794. 

The  second  season  commenced  Dec.  15,  1794,  Mr. 
C.  S.  Powell  as  manager.  Mrs.  Pownall  (who  died  in 
1796)  was  engaged.  She  was  a  singer  of  considerable 
ability,  and  gained  great  applause  in  opera  divertise- 
ments.  On  the  opening  night  the  bills  announced  that 
a  comedy  written  by  Shakspeare,  entitled  "As  You  Like 
It,"  and  "  Rosina,"  would  be  performed. 

The  company  consisted  of  C.  S.  Powell  and  wife, 
Snelling  Powell  and  wife,  Jones  and  wife,  Collins  and 
wife,  Hughes  and  wife,  Bartlett,  Taylor,  Kenny,  Heelyer, 
Hipworth,  Villiers,  Mrs.  Heelyer  (afterwards  Mrs. 
Graupner),  Miss  Harrison,  &c.  &c.  Mr..  Taylor  was 
a  new  face,  and  gained  great  credit  as  Octavian  in  the 
"  Mountaineers."  He  returned  to  England  subsequently, 
and  died.  The  company  was  not  a  strong  one,  if  we 
can  judge  by  the  criticisms  which  appeared  in  the  jour 
nals.  One  critic,  after  slaughtering  the  male  members,, 
states  that  it  is  with  pain  he  is  called  upon  to  censure 
the  fairer  part  "of  our  species,"  and  alluding  to  an. 
actress,  he  mildly  informs  the  reader  that  she  has  neith 
er  face,  nor  voice,  nor  form,  nor  action,  in  short,  no  one; 
talent  for  the  profession  she  has  usurped. 


24  RECORD    OF    THE    BOSTON    STAGE. 

"  When  to  enforce  some  very  tender  part, 
The  right  hand  sleeps  by  instinct  on  the  heart ; 
Her  soul,  of  every  other  thought  bereft, 
Seejns  anxious  only  where  to  place  the  left." 

The  season,  which  terminated  June  19th,  1795,  result 
ed  in  Mr.  C.  S.  Powell  becoming  a  bankrupt,  though 
he  was  guaranteed  for  the  services  of  himself,  wife, 
and  daughter,  from  the  proprietors,  twenty  pounds  per 
week.  During  the  summer  interval,  Mrs.  Pownall 
gave  an  occasional  concert  in  the  theatre  ;  and  the  As 
sembly  Hall  was  used  for  dancing  parties. 

Col.  J.  S.  Tyler,  a  gentleman  interested  in  theatri 
cals,  was  solicited  at  this  time  to  assume  the  responsi 
bility  of  the  management  by  the  trustees ;  and,  more 
from  a  desire  to  advance  the  cause  of  the  drama  than 
from  any  pecuniary  motives,  he  consented  to  take  charge 
of  the  business,  and  at  once  made  arrangements  with 
Messrs.  Hallam  and  Hodgkinson  to  bring  on  the  New 
York  company  to  Boston  ;  and  having  engaged  a  por 
tion  of  the  former  company,  the  whole  formed  a  very 
effective  and  numerous  corps,  comprising,  as  the  regu 
lar  Boston  company,  Snelling  Powell  and  wife,  Harper 
.and  wife,  Chambers  and  wife,  Hughes  and  wife,  Baker 
.and  wife  and  daughter,  Taylor,  Villiers,  Kenny,  and 
Mrs.  Pick.  The  company  from  New  York  consisted 
<of  Hodgkinson  and  wife,  Hallam  and  wife,  Tyler  and 
-wife,  Hamilton  and  wife,  Johnson  and  wife,  Cleveland 
and  wife,  King  and  wife,  Martin  Premore,  &c.,  &c. 

A  brilliant  and  profitable  season  was  anticipated ;  and 
..certainly  so  strong  a  band  merited  success.  The  pro 
prietors  were  sanguine ;  but,  seeing  the  impossibility  of 
.accomplishing  much  at  the  old  prices,  they  were  raised, 


RECORD    OF   THE   BOSTON    STAGE.  25 

as  will  be  seen  by  the  following  advertisement  inserted 
in  the  newspapers  of  the  day : 

TO   THE  PUBLIC. 

From  a  consideration  of  the  enormous  expense  which  the  present 
Manager  of  the  Boston  Theatre  is  subject  to,  by  having  engaged  a 
company  of  thirty-eight  persons  for  the  ensuing  season,  several  of 
whom  are  confessedly  in  the  first  line  of  excellence,  together  with  a 
more  numerous  orchestra,  and  preparations  of  several  splendid  pan 
tomimes. 

The  proprietors  have  unanimously,  upon  mature  deliberation,  been 
compelled  to  adopt  the  following  prices,  the  same  as  at  the  principal 
theatres  on  the  continent,  viz  : 

Boxes,  one  dollar. 

Pit  and  Slips,  three  quarters  of  a  dollar. 

Gallery,  half  a  dollar, 

assuring  the  public,  that  at  the  reduced  prices  adopted  heretofore,  a 
full  audience  every  night  of  performance,  would  not  be  more  than 
barely  adequate  to  the  expense. 

From  so  numerous  a  company,  every  species  of  theatric  exhibi 
tion  may  be  expected,  and  is  assured  to  the  public  by  the  manager. 
Boston  may  now  rival,  nay,  outvie  any  other  theatre  on  the  conti 
nent.  To  a  liberal  and  discerning  public  this  statement  is  given,  and 
the  proprietors  presume,  on  their  cheei'ful  acquiescence,  to  a  mea 
sure  absolutely  necessary  to  the  support  of  their  favorite  amusement. 

By  order  of  the  Trustees, 

Jos.  KUSSELL,  Secretary. 

Boston,  Oct.  22, 1795. 

The  third  season  accordingly  commenced  on  the  2d 
of  November,  1795,  under  Colonel  Tyler's  management, 
the  title  of  colonel  having  been  acquired  as  comman 
der  of  the  Cadets.  Mr.  John  Hodgkinson  assisted  him 
as  stage  manager.  The  public  was  partial  to  Mr. 
Tyler  on  account  of  his  being  an  American,  and  it  was 
anticipated  that  he  would  adopt,  as  he  did,  a  liberal 
system,  which  it  was  thought  would  stimulate  the  dor 
mant  genius  of  our  countrymen,  and  reduce  the  depen 
dence  then  placed  upon  foreign  talent.  The  success 


26        RECORD  OF  THE  BOSTON  STAGE. 

of  the  theatre  was  great ;  and  we  find  in  the  "Federal 
Orrery"  a  poetical  address  which  was  "intended  to 
have  been  spoken  by  Col.  J.  S.  Tyler  at  the  opening 
of  the  theatre."  It  is  quite  lengthy,  and  though  not 
delivered,  is  sufficiently  interesting  to  warrant  an  ex 
tract  :  — 

"  Let  mirth  within  these  walls  your  souls  employ, 
Like  brothers  worship  at  this  shrine  of  joy ; 
Let  Feds  and  Antis  to  our  temples  come, 
And  all  unite  firm  Federalists  in  Fun ; 
Let  austere  politics  one  hour  flee, 
And  join  in  free  Democracy  of  ylee  !  " 

This  was  conciliating,  to  say  the  least,  especially  as 
men  then  carried  their  political  feelings  into  the  very 
inner  circle  of  social  life,  oftentimes  severing  social  ties 
on  this  account,  and  looking  upon  a  political  opponent 
as  we  should  be  apt  to  regard  an  escaped  thief  or  marau 
der.  Another  passage  is  at  once  personal  and  bio 
graphical.  The  manager  is  supposed  to  raise  his  eyes 
to  the  gallery,  and  address  the  following  to  the  upper 
row  of  censors  :  — 

"  Luff  up  my  hearties !  cheer  each  drooping  box, 
The  good  sh^)  —  Theatre  —  is  on  the  stocks, 
Her  ways  are  greased —  her  after  blocks  away, 
Thenjumj)  her,  jump  her,  if  you'd  give  her  way. 
In  me,  her  captain,  know  me  for  your  friend, 
Your  townsman,  —  town  born,  town  bred  —  at  north  end ; 
Let  British  lords  their  haughty  birth  declare, 
I  boast  of  being  born  in  —  Old  North  Square. 
Then  heave  ahead,  doff  hats,  and  now  or  never 
Come  give  us  three  huzzas  —  NORTH  END  FOREVER." 

The  New  York  company  was  comprised  of  Mr. 
Hodgkinson,  an  actor  of  great  repute,  and  Mr.  Hallam 
and  others  who  were  excellent  in  their  way ;  the  Boston 


RECORD    OF    THE    BOSTON    STAGE.  27 

company  included  Mr.  and  Mrs.  S.  Powell  and  other 
favorites.  There  was  considerable  trouble  between  the 
members  of  the  House  of  York  and  the  House  of  Bos 
ton,  and  at  times  serious  results  were  apprehended ; 
but  Mr.  Tyler  with  tact  was  enabled  to  conciliate  the 
parties,  and  outwardly  at  least  there  was  appearance  of 
harmony.  The  "  Provoked  Husband,"  "  School  for  Scan 
dal,"  and  "  Richard  III."  were  brought  out ;  and  Dec. 
21,  1795,  "Macbeth "  was  performed  for  the  fast  time 
in  this  city.  Macbeth,  Mr.  Hodgkinson ;  Macduff,  Mr. 
Hallarn ;  Lady  Macbeth,  Mrs.  S.  Powell.  The  critics  of 
the  day  notice  the  performances  very  favorably,  and 
demand  that  Shakspeare's  acting  plays  should  be  pro 
duced,  in  order  to  cultivate  a  taste  for  the  legitimate 
drama.  In  November,  this  year,  Mr.  Joseph  Russell, 
the  active  treasurer  of  the  stockholders  of  this  theatre, 
died.  In  him  the  profession  lost  a  warm  admirer,  who 
had  done  good  service  in  promoting  a  taste  for  the 
drama. 

Mr.  and  Mrs.  Cleveland  were  members  of  the  com 
pany  this  season.  Mr.  Cleveland  was  a  good  actor, 
and  very  prepossessing  in  his  personal  appearance,  gift 
ed  also  with  an  agreeable  address.  He  was  the  apol 
ogist  of  the  theatre.  If  an  actor  was  sick,  no  one 
could  state  to  the  public  the  substitution  of  another 
with  so  much  grace;  if  a  play  was  not  ready  on  the 
night  announced,  no  one  could  lay  the  case  before  the 
audience  with  such  a  certainty  of  having  the  piece  pro 
posed  in  its  place  so  warmly  applauded  —  in  fact,  he 
had  a  peculiar  knack  for  making  apologies,  and  rarely 
did  he  retire  from  the  execution  of  this,  to  him  agreea 
ble  task,  without  receiving  a  round  of  applause.  On 


28  RECORD    OF   THE    BOSTON    STAGE. 

one  evening  he  was  performing  "  Romeo."  The  play  had 
reached  the  fifth  act,  and  the  noble  Montague  lay  dead, 
the  fair  Juliet  weeping  over  him.  At  this  point  the 
Old  South  bell  began  to  toll  out  alarming  peals,  and 
with  such  vehemence  did  the  bell-puller  do  his  work, 
that  the  audience  began  to  fear  that  even  the  theatre 
was  in  flames,  and  some  movement  occurred  in  the 
dress  circle.  Poor  Cleveland,  dead  as  Romeo,  but  still 
alive  as  the  Apologist,  could  not  resist  the  ruling  passion. 
He  immediately,  in  the  midst  of  Juliet's  lamentations, 
set  up  and  said :  "Ladies  and  Gentlemen,  I  beg  you  not 
to  be  alarmed.  It  is  only  the  Old  South  bell,  I  assure 
you"  and  before  the  fair  Capulet  had  time  to  recover 
from  her  astonishment,  Romeo  again  lay  dead  before 
her. 

Kenny  was  also  a  member  this  season.  He  was 
more  familiarly  known  as  King  Kenny,  from  the  fact, 
that  he  always  did  the  kingly  parts.  He  was  an  eccen 
tric  fellow,  and  sometimes  guilty  of  altering  Shakspeare, 
when  he  was  not  perfect  in  his  part.  Snelling  Powell, 
who  was  not  only  a  good  actor,  but  an  excellent  critic, 
stood  at  the  wing,  and  heard  Kenny  deliver  some 
speeches  which  it  would  have  defied  any  one  to  find  in 
the  bard's  works.  As  he  came  off  Powell  said  :  "  My 
heavens,  Kenny,  what  is  all  that  stuff  you've  been 
talking?"  "Shakspeare  slightly  altered  so  that  the 
audience  would  understand  it,"  replied  Kenny,  without 
a  smile  crossing  his  kingly  face.  "Anthony  Pasquin," 
whose  real  name  was  Williams,  had  the  entree  to  the 
green  room,  and  one  evening  while  there,  Kenny, 
dressed  in  his  regal  robes,  and  having  the  air  of  royalty 
itself,  strutted  in.  Pasquin  was  a  high  tory,  and  glanc- 


RECORD    OF   THE   BOSTON    STAGE.  29 

ing  at  Kenny  he  said :  "  They  may  talk  about  republi 
canism,  as  much  as  they  please ;  but  you,  Kenny,  I  con 
sider  the  only  real  republican  in  this  country.  Kenny? 
a  little  toryish  himself,  quickly  retorted,  "  How  so  ?  " 
"Why,"  said  Pasquin,  "  you  murder  all  the  kings." 
His  offended  majesty  strutted  off  indignant  at  the  at 
tack,  and  was  soon  giving  his  wholesale  orders  on  the 
stage. 

The  company  of  Hallam  and  Hodgkinson  closed  their 
performances  on  the  20th  of  January,  1796,  and  returned 
to  New  York,  where  they  opened  in  the  following 
February. 

We  have  alluded  to  Mr.  John  Hodgkinson,  the  first 
actor  who  visited  the  Western  world  in  possession  of  a 
transatlantic  reputation  as  a  man  of  considerable  ability. 
He  was  born  about  1765.  His  career  as  a  son  of  Thespis 
commenced,  like  many  others,  in  a  quiet  cellar,  fitted 
up  by  juveniles,  for  the  purpose  of  dramatic  entertain 
ments  on  a  very  limited  scale ;  the  taste  for  the  stage 
having  been  acquired  by  visiting  the  exhibitions  of 
strolling  players.  His  parents  kept  a  public  house  in 
Manchester,  England ;  and  John,  when  a  boy,  aided 
them  in  their  laborious  duties  by  discharging  the  offices 
of  pot-boy,  though  while  quite  young  he  was  bound 
out  as  apprentice  to  a  silk  weaver.  The  interests  of 
his  masters  were,  however,  secondary  to  his  own  incli 
nations,  which  led  him  to  cultivate  his  talents  as  a  vio 
linist,  and  secretly  to  manage  a  small  company  who 
spouted  plays  under  his  direction.  Discovered  in  his 
subterranean  retreat  by  his  master,  and  routed  from 
his  adopted  leadership,  he  resolved,  being  then  about 
fifteen  years  of  age,  to  start  in  the  world  on  his  own 


30  RECORD    OF   THE    BOSTON    STAGE. 

account ;  and  with  a  crown  in  his  pocket,  the  gift  of  two 
gentlemen  who  had  been  pleased  with  his  execution  on 
the  fiddle,  he  set  out  from  Manchester  for  Bristol,  where 
he  dropped  his  real  name,  Meadowcraft,  and  assumed 
the  more  homely  one  of  Hodgkinson.  On  the  road, 
Hodgkinson  fell  in  with  a  wagoner,  whose  object  it  was 
at  first  to  return  the  runaway  apprentice  to  his  home, 
but  was  dissuaded  from  the  idea  by  the  songs  he  fa 
vored  him  with.  So  pleased  was  he  with  Hodgkinson, 
that  on  arrival  in  Bristol  lie  introduced  him  to  the 
landlord  of  the  inn  at  which  he  put  up,  and  on  his 
recommendation  was  cordially  received  and  entertained 
for  some  time  without  charge.  Soon  after  his  arrival 
the  theatre  was  announced  to  be  opened  by  the  com 
pany  just  returned  from  Bath,  and  John  laid  his  plans 
to  obtain  an  introduction  to  the  manager.  There  was 
a  long  passage  leading  to  the  stage  door,  and  for  the 
first  two  days  in  the  forenoons  he  stood  at  the  outside ; 
but  becoming  impatient  he  took  his  station  in  the  pas 
sage,  and,  with  his  cap  under  his  arm,  sought  to  concil 
iate  those  who  passed  in  and  out  by  obsequious  bows, 
omitting,  however,  to  salute  one  elderly  gentleman,  who 
was  too  repulsive  and  forbidding  for  our  hero  to  honor 
with  such  attentions,  but  who  in  reality  was  the  kind- 
hearted  Keasberry,  the  manager  of  the  company. 
John,  however,  though  not  the  possessor  of  a  fortune, 
resolved  if  he  could  not  be  a  participator  behind  the 
scenes  he  would  at  least  be  a  spectator,  and  a  large 
share  of  his  crown  piece,  though  all  his  worldly  fortune, 
speedily  went  in  obtaining  admittance  to  the  gallery. 
At  the  expiration  of  five  days,  the  watchful  sentinel 
was  honored  by  a  word  from  Keasberry,  and  plainly 


RECORD    OF   THE   BOSTON   STAGE.  31 

told  him  that  he  wished  to  become  an  actor.  He  was 
conducted  in  upon  the  stage,  and  after  rehearsal  the 
manager  announced  that  he  had  an  individual  who  de 
sired  to  be  an  actor.  "  What  can  you  do  ?  "  asked  the 
manager. 

"  If  I  can  do  nothing  else  I  can  snuff  candles,  or 
deliver  a  message,  or  do  any  thing  that  young  lads  can 
do." 

"  You  can,  indeed  ?  " 

"  Yes,  sir ;  and  I  can  do  more  —  I  can  play  the 
fiddle,  and  sing  a  good  song." 

"  A  song,  song !  "  shouted  the  members  of  the  com 
pany,  who  collecting  round  were  ready  to  enjoy  a  little 
fun  at  the  new  comer's  expense,  and  who  were  not 
backward  in  their  jibes  and  remarks. 

"  Give  him  a  fiddle  as  he  calls  it,"  said  Keasberry. 

Hodgkinson  took  the  fiddle,  and  pitching  upon  the 
finale,  at  the  end  of  the  first  act  of  the  Padlock,  he 
played  it  and  sung  it  to  the  astonishment  of  all.  The 
smile  of  derision  on  the  faces  of  the  actors  changed  to 
a  smile  of  approval. 

"  Can  you  sing  with  orchestral  accompaniment  ? " 
asked  the  manager. 

"  I'll  try,"  said  John,  and  he  succeeded  so  admirably 
that  he  requested  the  orchestra  to  play,  "  Oh,  dry  those 
Tears." 

At  this  request  the  company  again  smiled,  as  if  they 
thought  his  vanity  was  carrying  him  too  far. 

"  Try  him,  by  all  means,  try  him,"  said  Mr.  K. 

He  sang  it  so  well,  that  their  surprise  was  now 
raised  to  astonishment ;  and  at  the  conclusion,  Mr.  K., 
patting  him  on  the  head,  said  — 


32  RECORD    OF    THE    BOSTON    STAGE. 

"  My  boy,  you'll  never  be  a  candle  snuffer.  For  the 
present,  however,  you  may  carry  a  letter,  or  something 
more,  perhaps." 

John  was  soon  enrolled  a  member  of  the  company, 
and  was  quite  efficient  in  carrying  letters,  singing  in 
the  chorus,  &c.  He  was  extremely  assiduous,  and  was 
aided  by  the  prompter,  who  directed  him  what  works 
to  peruse,  and  so  far  as  he  was  able  made  amends  for 
the  defects  of  his  early  education.  In  a  short  time  he 
joined  the  company  of  the  eccentric  James  Whiteley, 
manager  of  the  extensive  midland  circuit,  and  was 
afterwards  with  Whitlock  and  Munden,  and,  during  a 
provincial  tour  made  by  Mrs.  Siddons,  was  appointed 
to  perform  the  principal  characters  in  every  play. 
Hodgkinson,  with  all  his  abilities,  was  peculiarly  sus 
ceptible  to  the  tender  passion ;  and  coordinate  with  the 
rise  of  his  fame  and  fortune,  therefore,  was  the  growth 
of  the  evils  which  were  fated  to  endanger  the  one  and 
make  shipwreck  of  the  other;  and  his  professional 
success  and  his  gallantries,  running  parallel  to  each 
other,  like  two  wheels  of  a  gig,  left  their  marks  on 
every  road  he  travelled  in  the  north  of  England, 
and  involved  him  in  considerable  difficulty.  The  offer 
of  Henry  to  visit  this  country  in  1792,  was  accepted; 
and  with  a  Miss  Brett,  whom  he  made  his  legal  wife 
on  landing  in  America,  he  left  Bath.  Mrs.  Hodgkin 
son  was  an  actress  of  considerable  merit,  but  inferior 
to  her  husband,  who  was  good  in  whatever  he  attempted, 
though  his  forte  was  comedy.  This  desire  to  be  every 
thing,  actor,  author,  and  manager,  was  a  serious  injury 
to  him.  He  soon  became  a  manager ;  and  in  this  city 
and  other  places,  he  was  at  the  head  of  various 


RECORD    OF    THE    BOSTON    STAGE.  33 

establishments.  A  better  stage  manager  probably 
never  existed.  He  was  posted  up  in  all  the  details, 
and  could  if  necessary  jump  into  the  orchestra  and  take 
the  lead.  His  ability,  however,  as  a  financier,  was 
wanting.  He  wrote  a  play,  called  "  The  Man  of  For 
titude,"  and  several  minor  pieces.  He  was  a  hand 
some  man,  and  possessed  a  remarkably  retentive  mem 
ory,  and  would  read  over  a  new  part  of  twenty  lengths,. 
(a  length  is  forty  lines,)  and  lay  it  aside  until  the  night, 
before  he  was  going  to  play  it,  attending  the  rehearsals- 
meantime ;  then  sit  up  late  to  study  it,  and  the  next 
morning  repeat  every  word,  and  prompt  others.  Hodg- 
kinson,  as  we  have  seen,  was  connected  with  the  early 
history  of  the  drama  in  this  city,  and  will  again  figure 
in  this  record.  He  died  near  Washington,  on  the  12th 
of  September,  1805  ;  and  as  it  was  feared  that  his 
demise  was  caused  by  the  yellow  fever,  he  was  wrapped, 
in  a  blanket  by  negroes,  and  conveyed  to  an  obscure 
burial  ground  on  the  Baltimore  road.  The  following 
appeared  in  a  Boston  paper  soon  after  his  death.  The 
author's  allusion  to  Hodgkinson  sleeping  with  the  "  wise 
and  just,"  is  more  fanciful,  perhaps,  than  true :  — 

EPITAPH 

ON  JOHN   HODGKIXSON, 

The  Celebrated  Comedian. 
Written  at  the  Bequest  of  his  theatrical  friends,  by  Anthony 

Pasquin,  Esq. 

Shrin'd,  mid  the  ashes  of  the  wise  and  just, 
Here  Eoscius  sleeps  in  his  primaeval  dust ! 
That  tongue  is  mute  which  charmed  a  polish'dage, 
Gave  zest  to  wit,  and  dignity  to  rage,  — 
Those  eyes  no  more,  will  issue  lambent  fires, 
Nor  Taste  refine  the  tide  of  his  desires ! 
Th'  obedient  Passions  hail'd  his  mimic  sway, 
3 


34  RECORD    OF   THE    BOSTON    STAGE. 

The  Muses  breath' d  their  influence  in  his  lay  — 
"With  pond'rous  apothegm  and  attic  jest, 
He  smote  the  Demons  of  the  guilty  breast; 
Bade  virtue  consecrate  what  Science  saw, 
And  nerv'd  the  system  of  our  moral  law. 
Though  Death  has  triumph' d,  Destiny  has  giv'n 
His  fame  to  Honor,  and  his  soul  to  Heav'n. 


•        CHAPTER    III. 

Success  of  the  Theatre  under  the  Boston  Company.  —  Pit  Tickets 
Counterfeited. — Management  of  J.  B.  Williamson. — A  neAV  Thea 
tre  talked  of. — Proposals  for  building  the  Haymarket. —  The  Induce 
.nients  held  out  by  C.  S.  Powell.  —  Legerdemain.  —  Arrival  of  Mr. 
and  Mrs.  G.  L.  Barrett.  —  Mrs.  Whitlock.— Mrs.  Eowson.  —  Open 
ing  of  the  Haymarket.  —  First  Appearance  of  Mr.  Dickson. — 
Biographical  Sketch  of  Mr.  Dickson,  &c.  — Jealousy  of  the  Rivals. 
—  John  Burk.  —  His  play  of  Bunker  Hill.  —  Anecdotes  of  the  Play. 
—John  Adams,  Critique.  —  Proposed  Launch  of  the  Frigate  Con 
stitution,  and  a  Managerial  Coup  de  Theatre.  —  A  Patriotic  Song.  — 
Destruction  of  the  Federal  Street  Theatre  by  Fire.  —  Mr.  Dear 
born's  Rooms.  —  Bowen's  Columbian  Museum.  — An  American 
Vauxhall.  —  Proposals  made  by  the  Fanatics.  —  Wisdom  of  the 
"  Solid  men  of  Boston." 

THE  theatre,  after  the  departure  of  the  New  York 
company,  was  dependent  entirely  upon  the  Boston 
company,  and  the  business  was  fair.  On  the  25th  of 
January,  "  Othello  "  was  brought  out.  Mr.  J.  B.  Wil 
liamson,  then  just  arrived  in  the  country  from  the  Thea 
tre  Royal,  Covent  Garden,  made  his  first  appearance  in 
America,  as  Othello,  and  it  was  called  a  .good  piece  of 
;acting.  Mrs.  Powell,  who  always  adorned  the  boards 


RECORD    OF   THE    BOSTON    STAGE.  35 

sustained  the  part  of  Desdemona.  On  the  same  even 
ing,  Mrs.  Williamsom,  formerly  Miss  Fontenelle,  ap 
peared  as  Little  Pickle  in  the  "  Spoiled  Child,"  and  it 
was  pronounced  "  unquestionably  the  most  brilliant  and 
astonishing  display  of  theatrical  genius  ever  exhibited 
to  an  American  audience." 

Col.  Tyler  was  successful  as  a  manager,  so  far  as 
keeping  order  before  and  behind  the  scenes.  He  en 
countered  naturally  many  vexations,  and  not  the  least 
of  these,  was  the  counterfeiting  his  pit  tickets.  The 
tickets  were  so  like  the  real  ones  that  it  was  almost  im 
possible  to  detect  the  false  from  the  genuine,  and  the 
cheat  was  only  discovered  when  the  house  was  made 
up,  exhibiting  a  great  discrepancy  between  the  cash 
received  and  the  tickets  taken.  A  reward  of  thirty 
dollars  was  offered  for  the  perpetrator  of  this  forgery, 
which  put  an  effectual  stop  to  further  proceedings.  In 
April,  Mr.  Tyler  voluntarily  resigned  the  management, 
and  Mr.  J.  B.  Williamson  was  appointed  to  succeed 
him  by  the  trustees.  He  carried  the  theatre  through 
the  season,  which  closed  May  16th,  1796. 

During  the  early  part  of  this  year,  Mr.  C.  S.  Powell 
gave  entertainments  at  Concert  Hall,  and  revived  "  The 
Evening  Brush."  At  this  time  political  excitement 
between  the  two  parties,  then  denominated  Federal 
and  Jacobin,  ran  high  and  furious,  and  it  was  believed 
by  many,  and  not  without  reason,  that  the  Federal 
Street  was  managed  by  those  opposed  to  the  Jacobins, 
and  that  the  trustees,  who  were  all  of  the  federal 
school  of  politics,  had  upheld  and  justified  the  mana 
ger  in  the  introduction  of  pieces,  tending  to  provoke 
the  resentments  and  animosities  of  their  political  op- 


36  RECORD    OF    THE    BOSTON    STAGE. 

ponents.  This  idea  was  encouraged  by  the  French 
Consul  and  others  ;  and  Charles  Stuart  Powell,  taking 
advantage  of  this  condition  of  affairs,  issued  his  pro 
posals  for  building  a  new  theatre,  to  be  called  the  Hay- 
market.  He  stated  that  it  could  be  erected  for  $12,000, 
which  he  proposed  to  raise  by  subscription,  and  to 
divide  the  stock  into  sixty  shares,  at  $200  per  share. 

Among  other  inducements  he  held  but,  was  the 
promise  of  a  benefit  every  season  for  the  widows  and 
orphans,  which  "  he  doubts  not  will  be  a  stimulus  for 
the  manager  of  the  other  house  to  do  the  same ;  by 
which  means,  both  ends  meeting,  it  will  amount  to  a 
considerable  sum,  and  draw  on  each  party  the  blessings 
of  the  indigent,  and  make  their  theatrical  pursuits 
not  subversive,  but  subservient  to  a  laudable  purpose." 
Every  subscriber  was  to  be  guaranteed  a  season  ticket 
during  life,  even  though  he  sold  his  share,  "  provided 
said  share  is  sold  to  Charles  Stuart  Powell."  He  pro 
posed  to  take  the  theatre  on  a  lease  of  fourteen  years, 
at  an  annual  rent  of  $1,200.  He  concludes  his  pro 
posals  by  saying :  — 

"•The  following  arrangements  shall  be  made  for  the  ease  and  con 
venience  and  general  satisfaction  of  our  fellow  citizens.  The  pit 
shall  be  spacious,  so  as  to  be  able  to  admit  them  at  3s.  The  galleries 
on  the  same  extensive  plan.  The  first  gallery  2s.  3d. ;  where  our 
.  citizens  may  go  with  their  wives,  or  into  the  pit,  as  in  Europe.  The 
upper  gallery,  Is.  6d.  These  prices  never  to  be  altered." 

A  meeting  of  Powell's  friends  was  held  in  Concert 
Hall,  and  the  stock  was  immediately  taken  up.  The 
Boston  mechanics  were  not  partial  to  the  Federal 
Street,  and  favored  the  project.  Daniel  Messenger, 
Mr.  Homer,  and  others,  took  stock,  and  those  who  were 


KECOKD    OF   THE    BOSTON    STAGE.  37 

not  able  to  pay  the  money,  also  subscribed  for  shares, 
and  paid  in  labor,  furnishing  the  material  for  construct 
ing  the  building.  The  site  selected  was  near  the  corner 
of  Tremont  and  Boylston  streets,  where  now  stand  a 
block  of  brick  houses,  painted  white. 

During  the  summer  the  Federal  Street  was  occa 
sionally  opened  for  exhibitions  and  minor  entertain 
ments.  Then,  as  now,  foreign  seigniors  indulged  in 
legerdemain,  and  optical  illusions  were  sought  after ; 
for  we  read  that  Seignior  Falconi  gave  a  choice  enter 
tainment  there.  The  advertisement  states  that  the 
Learned  Swan,  an  early  edition  of  "  Macallister's 
Peacock,"  will  appear,  "  the  whole  to  conclude  with 
the  appearance  of  the  i  Ghost  of  the  celebrated  Char 
lotte  Corde,'  as  when  in  the  last  act  of  stabbing  Marat. 
She  will  appear  a  luminous  body,  enveloped  in  dark 
ness,  as  large  as  life,  and  every  feature  distinguishable 
for  the  space  of  three  or  four  minutes." 

The  summer  vacation  was  one  of  considerable  acti 
vity.  The  new  house  was  approaching  completion  ;  the 
manager,  C.  S.  Powell,  was  on  a  visit  to  Europe  to 
beat  up  recruits.  The  Federal  Street  was  undergoing 
a  thorough  cleanliness,  and  a  confidential  messenger 
had  also  crossed  the  Atlantic  to  engage  talent  for  this 
house ;  and  from  time  to  time,  notices  were  given 
through  the  journals  of  this  or  that  acquisition  to  the 
old  or  new  theatre. 

The  arrival  of  actors  tended  to  keep  up  an  excite 
ment.  Among  the  first  to  arrive,  were  Mr.  and  Mrs. 
Giles  L.  Barrett,  parents  of  George  H.  Barrett,  Esq., 
familiarly  known  as  "  Gentleman  George,"  who  at  that 
time  was  being  instructed  in  the  first  principles  of 


38  RECORD    OF   THE    BOSTON    STAGE. 

declamation.  Mr.  Giles  L.  Barrett  and  his  lady  had 
a  good  reputation  -  in  England  as  actors,  and  their 
advent  to  the  new  Haymarket  was  deemed  a  great 
acquisition.  Mrs.  Barrett  was  a  pupil  of  Macklin's, 
and  made  her  debut  as  Portia  in  London.  Arriving 
several  months  prior  to  the  opening  of  the  new  theatre, 
Mr.  Barrett,  to  relieve  the  tedium,  and  for  pecuniary 
emolument,  —  the  hoarding  of  money  never  having 
been  characteristic  with  the  family,  —  gave  lessons  in 
fencing  and  in  the  manly  art  of  self-defence.  Several 
of  his  pupils  are  still  living  in  this  city.  One  of  our 
most  eminent  surgeons  first  gave  exercise  to  his  muscles 
under  Barrett,  and  is  probably  indebted  to  that  early 
training  for  the  admirable  manner  in  which  he  is  able 
to  execute  the  most  difficult  surgical  operation  with  such 
skill  and  muscular  power.  Mr.  Barrett  was  a  perfect 
gentleman,  somewhat  vain,  perhaps,  as  men  of  superior 
capabilities  are  apt  to  be,  but  therefore  pardonable.  A 
good  anecdote  is  related  of  him.  He  announced  a 
sparring  exhibition,  and,  in  order  to  give  eclat  to  the 
affair,  procured  the  assistance  of  a  Jew,  —  a  powerful 
person,  who  had  some  skill  as  a  boxer,  —  whose  name 
was  Isaacs.  On  the  night  of  the  exhibition,  Mr.  Isaacs 
stood  up  as  a  sort  of  a  butt,  receiving  Barrett's  blows 
without  flinching.  "This  blow,"  said  Barrett,  "is 
often  used  by  the  celebrated  Mendosa ;  "  and  then,  by 
way  of  illustration,  he  would  fall  back  and  tap  Mr. 
Isaacs  on  the  skull.  "  This  blow  is  that  of  another 
great  boxer,"  continued  Mr.  Barrett,  and  Mr.  Isaacs's 
eye  would  receive  a  rap.  Before  the  illustrations 
were  through  of  the  various  styles  of  the  noted  cham 
pions  of  the  ring,  Mr.  Isaacs's  knowledge-box  was  in 


RECORD    OF   THE   BOSTON    STAGE.  39 

rather  a  confused  state,  and  as  the  tutor  was  proceed 
ing  to  illustrate  still  farther,  Mr.  Isaacs  remonstrated : 
"  It  ish  all  vare  foine,  Monsieur  Barrett ;  but  show  de 
gentleman  de  blow  of  Isaacs." 

After  going  through  the  series  Mr.  Barrett  said : 
"  Now,  gentlemen,  I  will  show  you  the  favorite  blow  of 
Mr.  Isaacs." 

"  No,  sare,"  exclaimed  Isaacs,  "  he  vil  show  de  blow 
hisself ;"  and  without  more  ado,  he  walked  into  Mr. 
Barrett  with  the  fury  of  a  Hyer,  and  completely  throw 
ing  him  off  his  guard,  would  have  beat  him  from  the 
stage,  had  not  Barrett  called  for  quarter.  Isaacs 
granted  it,  and  turning  to  the  audience,  saidj  "  Dat  ish 
Mr.  Isaacs's  blow." 

The  season  at  the  Federal  Street  commenced  Sep 
tember  15,  1796,  when  the  "Dramatist"  was  produced. 
The  part  of  Vapid  was  played  by  Mr.  Chalmers,  an 
English  actor,  who,  it  is  said,  left  England  on  account 
of  the  jealousy  which  Lewis,  the  comedian,  entertained 
towards  him.  He  was  a  gentlemanly,  high-minded 
man,  and  a  good  actor,  receiving  his  £50  per  night. 
Chalmers  was  a  member  of  the  stock  for  several  sea 
sons,  and  was  held  in  high  estimation  by  the  citizens, 
His  appearance  was  soon  followed  by  that  of  the  cele 
brated  Mrs.  "Whitlock,  as  Isabella,  in  the  "  Fatal  Mar 
riage."  Mrs.  Whitlock  was  sister  to  Mrs.  Siddons,  John; 
Kemble,  Stephen  Kemble,  and  the  veteran  Charles 
Kemble,  and  Avas  born  at  Warrington,  Lancashire, 
April  2, 1761.  She  was  a  striking  and  pleasing  resem 
blance  of  her  sister,  possessing  a  full  share  of  her  noble- 
air  and  elocutionary  powers,  Avith  more  amusing  poAvers- 
of  conversation.  As  Miss  Elizabeth  Kemble,  she; 


40        RECORD  OP  THE  BOSTON  STAGE. 

acted  some  time  at  Drury  Lane,  till  she  married  Charles 
Edward  Whit-lock,  (a  descendant  of  the  great  lawyer 
Whitelock,)  who  was  manager  at  the  time  of  the  Thea 
tre  Royal,  at  Newcastle-upon-Tyne.  She  was  the  sup 
port  and  ornament  of  his  company,  and  came  out  with 
her  husband  to  America  in  1793,  through  inducements 
held  out  by  Hodgkinson.  Mr.  Whitlock  was  even  then 
past  the  meridian  of  life,  and  dependent  upon  his 
wife's  attractions.  Of  her  powers  as  an  actress,  a  Bos 
ton  critic  remarked :  — 

"  Many  votaries  of  the  tragic  muse,  in  their  attempt  to  personate 
the  leading  characters  of  the  drama,  have  discovered  more  ambition 
than  talent;  and  in  some  instances,  not  destitute  of  merit,  the  mo 
mentary  display  of  partial  excellence  has  been  blemished  by  some 
outrage  of  sentiment,  — 

'  Which  sham'd  the  noblest  beauty  that  they  ow'd.' 

But  Mrs.  Whitlock  never  violates  the  unity  of  characters  by  depart 
ing  from  the  dramatic  personages  she  assumes.  There  is  less  of  the 
theatrical  imposture,  and  more  of  the  educated  mind;  less  of  the 
mockery  of  sensibility,  and  more  of  the  discrimination  of  taste  in 
her  performances,  than,  perhaps,  in  strictness,  the  scenes  of  imitative 
life  demand." 

Mrs.  Whitlock  had  the  honor  of  playing  before 
George  Washington,  in  Philadelphia.  That  great  man 
was  by  no  means  a  stoic  at  the  sight  of  tragedy ;  but 
3ie  hated  to  be  seen  weeping,  and  always  wiped  the 
iears  with  his  handkerchief  hastily  from  his  face. 

Bates  appeared  as  Justice  Woodcock,  in  the  opera, 
•"  Love  in  a  Village,"  and  Sharp,  in  the  "  Lying  Valet." 
The  company  always  included  Mr.  Jones,  a  great 
favorite,  Mr.  and  Mrs.  Rowson,  and  others.  The  men 
tion  of  Mrs.  Rowson  will  recall  to  the  memory  of  more 
lhan  one  Boston  matron,  pleasant  reminiscences  of 


RECORD    OF   THE    BOSTON    STAGE.  41 

their  early  school  days.  Mr.  Joseph  T.  Buckingham, 
in  his  late  work,  "  Personal  Memoirs,"  thus  alludes  to 
this  lady :  — 

"  Mrs.  Susanna  Rowson  was  an  acceptable  and  highly-valued  cor 
respondent  of  the  Galaxy.  Her  contributions  were  chiefly  of  a 
religious  and  devotional  character,  and  usually  signed  with  her 
initials,  "  S.  R."  She  was  the  daughter  of  William  Has  well,  an 
officer  in  the  British  Navy,  and,  in  1786,  was  married  to  William 
Rowson,  a  leader  of  the  band  attached  to  the  royal  guards  in  London. 
Mr.  and  Mrs.  Rowson  were  engaged  by  Mr.  Wignell,  the  manager  of 
the  Philadelphia  Theatre,  and  arrived  in  this  country  in  1793.  Before 
she  left  England,  Mrs.  Rowson  had  been  engaged  in  some  of  the  pro 
vincial  theatres,  and  was  an  agreeable  singer  and  performer  in  the 
musical  after-pieces.  She  had  also  written  some  novels,  and  a  few 
critical  papers,  which  introduced  her  to  the  favorable  notice  of 
several  distinguished  characters  among  the  nobility.  The  most 
popular  of  her  works  was  '  Charlotte  Temple,  a  Tale  of  Truth,' 
over  which  thousands  have  '  sighed  and  wept,  sighed  and  wept,  and 
sighed  again,'  which  had  the  most  extensive  sale  of  any  work  of  the 
kind  that  had  then  been  published  in  this  country,  —  twenty-five  thou 
sand  copies  having  been  sold  in  a  few  years.  While  employed  on  the 
stage,  in  Wign ell's  company,  she  found  time  to  employ  her  pen  to 
advantage.  She  Avrote  a  novel,  called  '  Trials  of  the  Heart,'  the 
'  Volunteers,'  a  farce,  founded  on  the  Whiskey  Insurrection  in  Penn 
sylvania,  another  called  '  The  Female  Patriot,'  and  a  drama,  called 
*  Slaves  in  Algiers.'  This  couple  came  to  Boston  in  1796,  and  per 
formed  one  season  at  the  Federal  Street  Theatre ;  and  during  that 
season,  Mrs.  Rowson  wrote  a  comedy,  called  '  Americans  in  England,' 
which  was  performed  for  her  benefit,  and  her  last  appearance  on  the 
stage.  At  the  close  of  her  engagement,  she  opened  a  school  for 
young  ladies,  and  afterwards  removed  to  Medford,  where  her  academy 
and  boarding-house  were  thronged  with  pupils  from  every  quarter. 
Her  institution  was  afterwards  removed  to  Newton,  and  again  to 
Boston.  While  occupied  in  this  laborious  profession,  she  wrote  a 
novel  called  '  Reuben  and  Rachel,'  which  I  remember  to  have  read  and 
admired  when  I  was  an  apprentice.  She  published  a  dictionary,  a 
geography,  and,  I  believe,  some  other  elementary  books  for  the 
benefit  of  her  pupils.  Mrs.  Rowson  was  singularly  fitted  for  the 
office  of  a  teacher.  Her  industry  and  intelligence  were  great,  and 
her  knowledge  and  skill  in  household  economy  was  almost  unparal- 


42        RECORD  OF  THE  BOSTON  STAGE. 

leled.  Such  -were  her  accomplishments,  her  refined  and  moral 
principles,  and  her  pious  and  Charitable  dispositions,  that  her  friends 
were  numerous,  and  her  pupils  represented  the  most  respectable 
families  hi  the  community.  Many  of  them  are  now  to  be  seen  in 
the  refined  and  polished  circles  of  the  capital  of  New  England. 
She  died  in  March,  1824,  respected,  beloved,  and  regretted  by  all 
who  knew  her." 

The  old  theatre  was  a  favorite  resort  for  the  residents 
of  the  city  and  neighboring  towns.  The  audiences 
were  more  careful  of  their  dress  than  those  of  modern 
days,  and  the  ladies,  especially,  paid  that  attention  to 
their  toilets,  which  is  now  only  bestowed  when  a  visit  to 
Almacks  or  to  the  Opera  is  anticipated.  A  marshal  of 
ceremonies  was  in  attendance  to  escort  ladies  to  their 
seats ;  and  a  degree  of  ceremony  observed,  of  which 
Bostonians  had  a  faint  counterpart  when  the  gentle 
manly  ushers,  under  Le  Grand  Smith,  conducted  them 
to  their  places  at  Jenny  Lind's  concerts  in  1850.  The 
Old  Theatre,  as  it  was  called,  to  distinguish  it  from  the 
Haymarket,  —  then  known  as  the  New  Theatre, — 
flourished  singly  and  alone ;  but  ere  many  months 
elapsed  it  had  a  formidable  competitor  for  public  favor, 
and  a  rivalry  commenced,  which,  with  short  intervals, 
has  ever  since  existed  between  two  or  more  places  of 
theatrical  entertainment  in  this  city. 

On  the  26th  of  December,  1796,  the  Haymarket 
opened.  It  was  an  immense  wooden  pile,  proudly  over 
topping  every  other  building  in  the  metropolis.  It  had 
three  tiers  of  boxes,  a  gallery,  a  pit,  drawing-room,  &c. 
The  company  was  strong  and  notable,  from  the  fact 
that  it  introduced  to  an  American  public  several  who 
have  since  made  Boston  their  home,  and  are  closely 
identified  with  the  subsequent  theatrical  history  of  this 


RECORD    OF    THE    BOSTON    STAGE.  43 

city,  while  many,  who  have  been,  and  still  are  favorites 
on  the  staVe,  can  trace  their  genealogy  back  to  mem 
bers  of  this  corps.  The  company  embraced  Mr.  and 
Mrs.  G.  L.  Barrett,  Mr.  and  Mrs.  Simpson,  three  Miss 
Westrays,  (daughters  of  Mrs.  Simpson,  by  a  former 
marriage,)  and  a  corps  de  ballet,  among  whom  were 
Francisquy,  Yal,  Lege,  and  their  ladies.  The  opening 
play  was  Mrs.  Cowley's  "  Belle's  Stratagem,"  with  the 
following  cast:  —  Doricourt,  S.  Powell;  Sir  George 
Touchwood)  Marriot ;  flutter,  C.  Powell ;  Saville,  J. 
IT.  Dickson,  (first  appearance  in  public ;)  Courtall, 
Taylor ;  Villars,  a  young  American ;  Hardy,  Simson, 
(first  appearance;)  Letitia  Hardy,  Mrs.  S.  Powell; 
Lady  Frances,  Mrs.  Hughes ;  Miss  Ogle,  Miss  Harri 
son,  (afterwards  Mrs.  Dickson ;)  Mrs.  Rackett,  Mrs. 
Simpson,  (first  appearance).  Mrs.  Marriot,  and  others/ 
were  also  attached  to  the  theatre.  The  play  was 
entirely  successful.  Mr.  Simson  made  a  hit  as  Hardy, 
and  at  once  established  himself  as  a  favorite,  and 
others  were  equally  well  received.  Mr.  Powell  deliv 
ered  an  address,  written  by  himself,  which  was  highly 
applauded.  This  fortunate  opening  was  followed  by 
the  appearance  of  Mr.  G.  L.  Barrett,  as  Ranger,  in 
the  "  Suspicious  Husband,"  (Dec.  28th,)  Mr.  William 
son,  (from  Covent  Garden,)  as  Tom  Tug,  in  the 
"  Waterman,"  (Dec.  30th,)  and  Mrs.  G.  L.  Barrett's 
impersonation  of  Mrs.  Beverlcy,  in  Moore's  tragedy  of 
the  "  Gamester,"  first  acted  at  Drury  Lane  in  1753, 
(Jan.  2,  1797,)  all  of  whom  appeared  for  the  first  time 
in  America,  and  proved  great  cards.  The  name  of  Mr. 
Dickson  will  undoubtedly  recall  to  many  of  our  elderly 
readers  the  palmy  days  of  Old  Drury,  —  those  da  y 


44  RECORD    OF   THE    BOSTON    STAGE. 

when  Bernard,  Dickson,  Mrs.  Powell,  and  others,  per 
formed  to  houses  crowded  from  pit  to  gallery  with  the 
fashion,  the  beauty,  and  the  talent  of  our  city,  —  when 
the  Perkinses,  the  Parkmans,  the  Sullivans,  had  their 
boxes,  and  the  dress  circle  presented  a  sight,  seen  of 
later  days  but  too  seldom. 

The  hand  of  time  rested  lightly  on  Mr.  Dickson, 
and  preserved  him  to  a  ripe  old  age,  rich  in  that  rev 
erence  of  friends,  which  a  life  of  worth  and  integrity 
gained  for  him.  Mr.  Dickson  died  on  Friday  morning, 
April  1st,  1853. 

For  a  few  days  previous  to  his  death  he  had  been 
unusually  cheerful,  taking  great  interest  in  matters 
which  of  later  years  had  possessed  but  little  attraction, 
and  his  friends  were  anticipating  many  years  of  enjoy 
ment  in  communion  with  a  mind  richly  endowed  with 
natural  gifts,  and  possessing  in  an  eminent  degree,  for 
a  man  of  his  age,  marked  and  peculiar  powers  of  re 
tention.  His  associations  in  early  life  had  enabled 
him  in  many  matters  to  obtain  a  correct  knowledge  of 
events,  while  his  intimacy  with  almost  every  man  of 
local  distinction  during  his  lifetime,  opened  for  him  a 
store  of  historical  and  biographical  reminiscences,  which 
ga§e  to  his  conversation  an  unstudied  attractiveness. 
In  social  intimacy  writh  those  who  were  his  cotempo- 
raries,  he  dwelt  with  pleasure  upon  the  past.  He  du 
plicated,  as  it  were,  his  earlier  years  of  enjoyment- 
To  the  young  and  inquiring  he  never  withheld  any 
thing  that  might  be  conducive  to  their  interest,  and  in 
more  than  one  instance,  at  great  personal  inconve 
nience,  imparted  information  of  value,  wThich  otherwise 
would  have  passed  unrecorded.  Mr.  Dickson  is  known 


RECORD    OF    THE    BOSTON    STAGE.  45 

to  us  as  manager,  actor,  and  merchant,  and  in  each  of 
these  callings  he  acquired  distinction.  He  was  born  in 
London  in  the  year  1774,  and  at  the  age  of  twenty-one 
came  to  Philadelphia,  where  he  had  an  uncle.  His 
stay  there  was  brief.  At  a  dinner  of  a  few  friends  he 
made  some  remarks,  and  quoted  so  aptly  from  Shak- 
speare,  delivering  the  passages  with  such  accuracy,  that 
his  companions  declared  him  admirably  qualified  for 
the  theatrical  profession.  Prior  to  his  coming  to  this 
country,  he  had  associated  with  members  of  the  pro 
fession,  and  had  acquired  some  little  knowledge  of 
declamation ;  but  his  education  in  a  mercantile  house 
had  been  pursued  with  the  idea  of  becoming  a  merchant. 
To  this  training,  and  a  perfect  knowledge  of  accounts, 
may  be  partly  attributed  his  success  in  after  life.  In 
1796,  MR  Charles  S.  Powell,  who  had  then  contracted 
for  the  erection  of  the  Haymarket  Theatre  in  this  city, 
visited  Philadelphia  for  the  purpose  of  securing  a  com 
pany,  and  engaged  Mr.  Dickson  and  a  Mr.  Trenchard 
to  do  the  minor  business  of  the  theatre.  The  youthful 
Thespians  made  the  passage  to  this  city  in  a  vessel. 
It  was  Mr.  Trenchard's  first  experience  of  a  sea  life, 
but  he  subsequently  became  a  sailor,  and  at  the  time 
of  his  death  was  a  commander  in  the  American  navy. 
On  their  arrival,  they  took  lodgings  with  Mr.  Dear 
born,  then  the  principal  of  a  young  ladies'  school,  loca 
ted  in  what  is  now  known  as  Theatre  Alley.  It  was 
customary  to  close  the  quarter  with  declamations  and 
private  theatricals;  and  it  was  under  such  auspices 
that  Mr.  Dickson  first  trod  the  boards,  wearing  on  the 
occasion  the  garments  borrowed  of  a  militia  officer. 
He  had  at  this  time  changed  his  name  for  family  con- 


46        RECORD  OF  THE  BOSTON  STAGE. 

siderations,  and  called  himself  Dickenson  ;  but  in  after 
years,  tlie  more  certainly  to  render  his  legal  title  to 
property  secure,  he  assumed  his  real  name,  by  author 
ity  of  the  legislature,  and  became  naturalized.  The 
Haymarket  Theatre,  as  we  have  stated,  was  opened  on 
the  26th  of  December,  1796,  when  "  Belle's  Stratagem"  ' 
was  performed,  Savttte,  by  Mr.  Dickson,  his  first  appear 
ance  in  public;  Letitia  Hardy ^  Mrs.  S.  Powell;  and 
Miss  Ogle,  by  Miss  Harrison,  sister  to  the  last  named 
lady,  and  afterwards  Mrs.  Dickson.  He  gave  at  that 
time  but  little  promise  of  the  possession  of  histrionic 
talents ;  but  he  was  attentive  to  his  business,  and  his 
study  being  remarkably  rapid,  he  was  highly  valuable 
to  the  management,  who  termed  him  his  "  sheet  anchor," 
being  ready  at  a  short  notice  to  supply  a  deficiency 
to  the  best  of  his  ability.  The  theatre  under  John 
Hodgkinson  was  not  remarkably  successful,  and  for  a 
short  time  Mr.  Dickson  was  connected  with  Mr.  Tren- 
chard  (who  did  not  carry  out  his  intention  of  adopting 
the  stage)  in  business.  This  was  brief;  for  when  the 
Boston  Theatre  was  rebuilt  in  1798,  after  its  destruc 
tion  by  fire  in  February  of  the  same  year,  Mr.  Dickson, 
under  Hodgkinson,  became  attached  to  it  in  the  capa 
city  of  prompter  and  deputy  manager;  and  to  his 
charge  was  intrusted  the  general  superintendence  of 
affairs.  Mr.  Dickson,  when  first  offered  the  post,  re 
fused  it;  but  Hodgkinson  assured  him  that  he  could 
learn  more  in  one  year  by  holding  the  prompt  book, 
than  he  could  by  acting  seven,  —  a  remark  which  was 
fully  realized  by  the  recipient  of  this  valuable  hint. 
He  occasionally  went  on,  when  necessity  required  it ; 
and  his  adoption  of  a  particular  line  of  business,  that  of 


RECORD    OF    THE    BOSTON    STAGE  47 

leading  old  men,  was  the  result  of  mere  accident.  Mr. 
Bates,  who  was  cast  for  Sir  Oliver  Oldstock,  in  "  He 
Would  be  a  Soldier,"  was  taken  sick.  He  sent  for  Mr. 
Dickson  in  the  morning,  and  begged- of  him  to  fill  the 
part ;  but  his  natural  modesty  at  once  compelled  him, 
from  attempting  to  give  satisfaction  in  a  character 
which  Mr.  Bates  had  made  his  own.  The  case  was 
one  that  required  immediate  decision,  and  from  a  spirit 
of  accommodation  Mr.  Dickson  consented;  and  his  suc 
cess  was  unequivocal.  During  the  season  of  1802  and 
1803,  he  appeared  as  Sir  Anthony  Absolute,  and  for 
years  he  was  the  sole  impersonator  of  this  character  on 
the  Boston  boards.  His  acting  displayed  the  most  ac 
curate  and  critical  nicety  both  in  conception  and  rendi 
tion,  while  his  attention  to  the  propriety  of  dress,  and 
the  delivery  of  the  language,  gave  him  at  once  a  pow 
erful  hold  upon  public  patronage.  His  benefit  for  many 
years  was  honored  by  the  attendance  of  the  elite,  who 
appreciated  the  worth  of  the  man  and  the  talent  of 
the  actor,  and  resulted  always  in  the  receipts  exceed 
ing  a  thousand  dollars. 

In  1806,  Mr.  Dickson  became  joint  lessee  of  the 
Boston  Theatre  with  Snelling  Powell  and  John  Ber 
nard,  under  whose  auspices  the  theatre  did  a  most 
flourishing  business.  He  gave  to  the  "  Forty  Thieves," 
at  the  time  of  its  production,  a  powerful  impetus,  by 
his  impersonation  of  Mustapha,  and  through  his  exer 
tions,  the  play  was  put  on  the  stage  in  a  style  of  un 
paralleled  magnificence.  As  manager,  he  visited  Eng 
land  during  his  summer  vacations,  (and  during  his  life 
crossed  the  ocean  upwards  of  forty  times,)  to  engage 
talent,  and  brought  to  this  country  many  of  the  most 


48  RECORD    OF    THE    BOSTON    STAGE. 

popular  favorites  of  the  day.  AYith  Cooper,  lie  was 
instrumental  in  inducing  the  great  George  Frederick 
Cooke  to  visit  America.  The  Duffs  and  others  came 
out  under  his  protection  ;  we  may  truly  say  protection, 
for  his  friendship  was  cautiously  bestowed,  but  once 
given,  it  knew  no  limit.  After  Bernard's  retirement, 
the  firm  was  Powell  &  Dickson ;  subsequently  Powell, 
Dickson,  &  Duff;  and  still  later,  after  the  death  of 
Mr.  Powell,  in  1821,  he  was  connected  with  Mrs. 
Powell  &  Kilner,  and  only  retired  when  Kilner  &  Finn 
became  the  lessees.  His  retirement  from  the  active 
duties  of  his  profession  took  place  many  years  prior  to 
his  release  of  the  management ;  for  on  the  14th  of 
April,  1817,  he  took  his  leave  of  the  public,  appearing 
as  Cosey,  in  "  Town  and  Country."  He  appeared,  how 
ever,  twice  after  this,  on  the  occasion  of  Mrs.  Powell's 
benefits ;  his  last  appearance  on  any  stage  was  on  the 
14th  of  May,  1821,  when  he  appeared  as  Sir  Robert 
Bramble,  in  the  "  Poor  Gentleman,"  Will  Steady,  in 
"  The  Purse,"  and  Tag,  in  the  "  Spoiled  Child." 

When  Mr.  Dickson  first  came  into  the  management, 
there  was  existing  a  bitter  feeling  against  theatres  and 
theatrical  representations.  The  hostility  was  not  con 
fined  to  the  ignorant ;  but  many  families  were  so  deeply 
imbued  with  puritanical  ideas,  that  they  never  ventured 
beneath  the  roof  of  a  playhouse.  To  conciliate  this 
class,  required  not  only  good  judgment,  but  a  personal 
example ;  and  in  a  very  few  years,  those  who  had  been 
bitter  opponents  became  warm  friends,  when  they  per 
ceived  that  men  of  industry  and  character  were  engaged 
in  the  management.  The  esteem  in  which  Mr.  Dick- 
son  wns  hold.  pontrihii*^!  ™o*n-ni*n]]v  to  thf> 


RECORD    OF    THE    BOSTON    STAGE.  49 

ment  of  the  drama  on  a  firm  foundation,  not  only  in 
this  city,  but  in  Providence,  Newport,  Portsmouth,  &c., 
where  the  company,  during  the  summer,  gave  represen 
tations.  Under  his  auspices,  the  theatre  became  a 
charitable  institution,  dispensing  of  its  receipts  to  the 
poor  and  the  unfortunate.  There  is  scarcely  a  con 
temporary  society  but  received  aid  from  some  benefit 
given  at  the  old  theatre,  and  the  proceeds  of  all 
premiums  on  great  attractions  were  freely  distributed 
among  the  deserving.  The  money  thus  distributed 
was  not  confined  to  any  locality ;  for  the  residents  of 
Savannah,  Geo.,  and  of  Portsmouth,  N.  H.,  when  their 
cities  were  laid  in  ruins  by  fire,  received  most  generous 
aid.  Upwards  of  six  hundred  dollars  were  sent  to  the 
latte'r  place;  and  in  acknowledgment  of  it,  a  com 
mittee  tendered  their  heartiest  thanks  for  the  exercise, 
as  they  truly  remarked,  of  "  that  benevolence  so  con 
genial  to  gentlemen  of  your  profession."  Mr.  Dickson, 
cherishing  sentiments  of  respect  for  the  religious  rites 
of  society,  often  at  loss  to  himself,  closed  his  theatre  on 
days  of  public  fast  and  church  days,  deeming  it  a  duty 
he  owed  to  society  and  the  cause  of  good  morals. 

"We  have  spoken  of  Mr.  Dickson  in  his  public  capa 
city.  After  his  retirement  from  the  active  duties  of  the 
profession,  he  was,  till  the  time  of  his  death,  engaged 
in  business.  His  youthful  habits  of  economy  procured 
for  him  the  basis  of  an  ample  competence,  laboriously 
and  honestly  accumulated.  His  body  was  followed  to 
the  grave  by  many  of  his  fellow  citizens.  Honest  in 
his  dealings  with  all,  scrupulously  exact  in  his  inter 
course  with  his  fellow  men,  possessing  a  generous  heart 
4 


50  RECORD    OF   THE    BOSTON    STAGE. 

and  liberal  ideas,  lie  departed,  having  fulfilled  an  honor 
able  mission. 

In  thus  paying  a  brief  tribute  to  one  who  so  long 
swayed  the  fortunes  of  the  drama,  we  have  anticipated 
some  events  which  will  necessarily  form  a  portion  of 
this  record  ;  but  the  reader  will  pardon  both  the  digres 
sion  and  repetition. 

The  three  Miss  Westrays,  who  were  members  of  the 
Haymarket  company,  will  be  recollected  by  many  of 
our  elderly  readers,  and  perhaps  remind  them  of  their 
early  days  of  gallantry  —  for  these  young  ladies  had 
many  admirers.  Miss  E.  Westray  was  afterwards  the 
celebrated  Mrs.  Darly,  who,  to  personal  beauty  and 
grace,  united  a  delicacy  that  interested,  and  a  naivete 
that  fascinated.  More  than  one  susceptible  heart  ac 
knowledged  the  power  of  ner  charms,  and  after  her 
marriage,  the  jealous  husband  took  forcible  means  to 
decrease  the  number.  Another  of  the  Miss  Westrays 
married  Mr.  Wood,  and  the  third  was  married  to  Mr. 
Villiers,  and,  subsequently,  Mr.  Twaits. 

The  prosperity  of  the  Haymarket  stimulated  the 
actors  at  the  old  theatre  to  exert  all  their  energies, 
though  the  contest  for  superiority  was  against  fear 
ful  odds.  The  most  intense  jealousy  existed  between 
the  stockholders,  managers,  and  others  connected  with 
the  two  establishments,  and  the  stockholders  of  the 
Federal  Street,  being  gentlemen  of  wealth,  spared  no 
expense  to  injure  their  new  competitor.  Each  share 
holder  had  his  night,  when  he  not  only  paid  the  whole 
expenses,  but  took  pride  in  having  a  crammed  house. 
Tickets  were  sold  till  the  demand  was  answered,  when 


RECORD    OF    THE    BOSTON    STAGE.  51 

the  balance  were  given  away  to  those  persons  who 
would  pledge  themselves  never  to  enter  the  Haymarket. 
Many  thus  obtained  free  entrance  to  the  old  house  dur 
ing  the  season.  An  elderly  gentleman  informs  us  that 
he  was  a  "  dead  head "  under  this  promise,  and  for  a 
long  time  kept  it,  till  his  fellow  apprentices  lauded  a 
play  performed  at  the  Haymarket  to  such  a  degree 
that  he  resolved  to  have  a  peep  at  it.  This  he  did  by 
quietly  visiting  the  gallery  of  the  Haymarket,  where 
he  slaked  his  curiosity  and  returned  home,  trusting 
that  he  had  enjoyed  his  stolen  pleasures,  unknown  to 
any  one.  The  next  day,  however,  he  was  called  up  by 
his  master,  a  firm  friend  and  stockholder  in  the  Federal, 
and  severely  reprimanded  for  breaking  his  faith,  and 
visiting  the  enemy.  On  one  occasion,  John  Burk,  the 
editor  of  the  Polar  Star  and  Daily  Advertiser,  was 
accused  by  the  Federal  Street  party  of  gross  partial 
ity,  owing  to  a  mistake  of  the  printer  in  setting  up  the 
advertisement  giving  the  wrong  evening  of  perform 
ance.  Burk  was  a  man  who  prided  himself  on  his  im 
partiality,  and  he  enters  into  a  lengthy  explanation  to 
prove  that  it  was  not  done  with  malice  prepense,  but 
originated  entirely  through  inadvertence.  The  Federal 
Street  at  this  time  was  obliged  to  reduce  its  scale  of 
prices  to  a  portion  of  the  house,  and  adopted  the  follow 
ing  prices  :  Pit,  fifty  cents  ;  Slips  and  Gallery,  twenty- 
five  cents.  The  "  Mountaineers  "  and  other  spectacles 
were  produced,  and  William  Charles  White,  a  gentleman 
of  Boston,  made  his  debut  before  the  close,  which  took 
place  on  the  5th  of  June,  1797. 

This  ballet  corps,  consisting  of  Val,  Lego,  Audain, 
Francesquay,  and  their  ladies,  was  a  very  fine  one. 


52  RECORD    OF    THE    BOSTON    STAGE. 

Monsieur  Val  was  a  nobleman  by  birth,  but  lost  his 
fortune  during  the  French  Revolution.  He  and  the 
others  were  gentlemen  of  fine  manners,  and  true 
artistes.  After  their  engagement  had  concluded  here, 
they  went  south,  and  thence  to  St.  Domingo,  where  un 
fortunately  for  themselves,  they  arrived  at  the  time  of 
the  insurrection  of  the  negroes.  They  were  im 
prisoned,  and  their  black  captors  made  them  perform 
occasionally  for  their  own  amusement,  though  they  did 
not  exempt  them  from  the  general  massacre  of  the 
whites  which  followed. 

The  Haymarket  brought  out  a  piece  called  "  Bun 
ker  Hill,  or,  the  Death  of  General  "Warren,"  written 
by  John  Burk,  the  editor.  As  the  same  piece,  or  an 
adaptation,  is  performed  occasionally,  we  give  the  first 
bill:  — 

HAYMAEKET  THEATRE. 

(Never  Performed.) 
This  Evening,  February  17,  will  be  presented  a  Tragedy,  entitled 

the 

BATTLE  OF  BUNKER  HILL; 

Or,  The  Death  of  General  Warren. 
Written  by  Mr.  Burk. 

Gen.  Warren,  Commander  at  Bunker  Hill,        .         Mr.  Barrett. 

Col.  Prescott,  j  Major  Generals  in  the  )         .        .     Mr.  S.  Powell. 

Col.  Putnam,   (     American  Army,     i     .        .         Mr.  Hughes. 

Gov.  Gage, Mr.  Marriott. 

Lord  Percy,         ...,.,,         Mr.  Williamson. 

Gen.  Howe, Mr.  Dickson. 

Col.  Harman, Mr.  Fawcett. 

American  Grenadier, Mr.  Wilson. 

Officers,  Soldiers,  and  attendants  by  the  rest  of  the  Company.  And 
Col.  Abercrombie,  in  love  with  and  beloved  by  Elvira,  an  Ameri 
can  lady,  captive  in  Boston,  ....  Mr.  Taylor. 

Anna,  attendant  on  Elvira,        ....  Mrs.  Hughes. 

And  Elvira,  American  captive,    ....      Mrs.  Barrett. 


RECORD    OF   THE   BOSTON    STAGE.'  53 

To  conclude  with  a  grand  procession  in  honor  of  Warren,  whose 
dead  body  is  borne  across  the  stage  on  a  bier  —  the  American  army 
moving  slowly  to  the  sound  of  solemn  martial  music  —  young  women 
dressed  in  white,  holding  flowers  in  their  hands,  each  with  one  hand 
on  the  bier,  will  accompany  the  procession.  At  proper  intervals, 
flags  wTill  display  Eepublican  emblems,  and  popular  devices. 
Principal  Mourner  and  Singer,  .  .  .  Miss  Broadhurst, 

who  will  introduce  an  original  patriotic  Elegy,  to  the  much  admired 

tune  of  Roslin  Castle,  over  the  bier  of  Warren. 
Second  Singer  and  Mourner,        .        .        .          Mad.  Pick. 

Third, Miss  Eliz.  Westray. 

Fourth, Miss  Gowen. 

Fifth,          ........    Miss  Westray. 

Sixth, Miss  Eleo.  Westray. 

The  Prologue  to  be  spoken  by   .        .        .        .        Mr.  Powell. 
Scenery  incidental  to  the  piece,  painted  by     .          Mr.  Audain. 

American  Music  only  will  be  played  between  the  Acts. 

To  which  will  be  added  the  favorite  Musical  Entertainment,  called 
THE  PADLOCK. 

Vivat  Respublica. 

At  that  time  it  was  well  received,  the  British  being 
well  peppered,  and  the  "stars  and  stripes"  floating 
triumphant.  It  was  local  in  character,  and  the  scene  laid 
in  Charlestown  and  Boston.  Mr.  Dickson  personated 
General  ffowe,  and  how  acceptably  may  be  judged  from 
the  fact,  that  the  author  made  $2,000  by  the  play.  Mr. 
Buckingham,  in  his  "  Reminiscences  of  Newpapers," 
and  gentlemen  connected  with  them,  alludes  to  Burk, 
and  states  that  his  paper  suddenly  departed  this  life 
in  1797.  Of  the  tragedy  of  its  author,  he  says:  — 
"  The  tragedy  had  not  a  particle  of  merit,  except  its 
brevity.  It  was  written  in  blank  verse,  if  a  composi 
tion  having  no  attribute  of  poetry  could  be  so-  called. 
It  was  as  destitute  of  plot  and  distinctness  of  character 
as  it  was  of  all  claim  to  poetry.  Burk  afterwards 
was  the  editor  of  a  political  paper  in  New  York,  called 


54  RECORD    OF   THE    BOSTON    STAGE. 

the  Time  Piece,  and  was  arrested  on  a  charge  of  pub 
lishing  a  libel,  contrary  to  the  provisions  of  the  Sedi 
tion  Law  of  1798.  The  issue  of  the  affair  I  never 
knew.  About  the  year  1800,  it  was  reported  that  he 
was  killed  in  a  duel  in  one  of  the  Southern  States." 
The  literary  merits  of  the  piece,  according  to  this,  were 
very  few,  but  the  success,  we  are  assured,  was  great, 
which  does  not  speak  volumes  for  critical  acumen  of 
the  early  theatre-goers.  Dunlap,  in  his  "  History  of 
the  American  Stage,"  alludes  to  a  History  of  Virginia, 
by  Burk,  as  exhibiting  talent  and  learning. 

We  have  heard  one  or  two  anecdotes  of  this  piece 
which  are  too  good  to  be  lost.  The  company  attached 
to  the  Boston  Theatre,  during  the  summer  vacation, 
generally  visited  some  of  the  provincial  towns.  On  one 
occasion,  while  at  Portland,  Mr.  Dickson  appeared  in 
the  play  as  Colonel  Abercrombie,  who,  wishing  to  marry 
an  American  lady,  is  told  that  he  must  desert  the  cause 
of  the  British,  and  embrace  the  American  side.  In 
this  dilemma,  he  soliloquises,  exclaiming :  "  Heavens  ! 
that  madness  should  so  bereave  a  man  of  his  senses 
as  to  doubt  which  of  the  two  to  choose  —  love  or 
honor."  "  It  generally  does,  Mr.  Dickson,"  exclaimed 
a  voice  in  the  pit,  which  called  forth  shouts  of  laughter. 
The  person  who  had  thus  given  his  opinion  was 
Mr.  George,  for  many  years  an  editor  in  that  city  — 
an  unfortunate  cripple,  who  was  especially  licensed,  by 
public  consent,  to  say  what  he  thought,  without  regard 
to  time  or  place.  On  another  occasion,  an  actor  came 
out  to  announce  the  play  of  the  following  evening: 
"  Ladies  and  gentlemen,"  said  he,  "  we  thank  you  for 
your  attendance  this  evening,  and  to-morrow  night  wre 


RECORD    OF    THE    BOSTON    STAGE.  55 

shall   have   the   honor   of   presenting   you   the   much 

admired   play  of  ;"   here   the    actor's    memory 

proved  treacherous  —  he  bungled,  and  was  at  a  loss 
what  to  say,  when  little  George  came  to  his  rescue,  by 
exclaiming  :  "  It  is  no  consequence  for  you  to  mention 
it  —  the  bills  are  sticking  up  in  the  lobby."  The  play  of 
"  Bunker  Hill  "  was  performed  in  New  York.  Presi 
dent  Adams,  being  in  the  city,  was  invited  to  attend, 
and  at  the  conclusion  of  the  piece  he  was  conducted 
by  the  managers  and  leading  actors  to  his  carriage 
with  considerable  pomp  and  show.  Mr.  Barrett,  who 
had  performed  General  Warren,  ventured  to  express 
the  hope  that  the  President  had  been  pleased.  "  Sir," 
replied  Mr.  Adams,  "  my  friend,  General  Warren,  was 
a  scholar  and  a  gentleman,  but  your  author  has  made 
him  a  bully  and  a  blackguard."  Mr.  Adams's  critique 
was  at  once  concise  and  correct. 

The  season  at  the  Haymarket,  which  closed  in  June, 
1797,  was  not  very  prolific  in  those  results  so  pleasing 
to  managers.  Mr.  C.  S.  Powell  and  Giles  L.  Barrett 
had  a  quarrel ;  the  former  attacked  the  latter  through 
the  newspapers  —  accused  him  of  being  a  dictator  — 
and  the  editors  promise  a  reply  from  Mr.  Barrett.  A 
pause  of  some  days'  duration  occurs,  when  Mr.  Barrett 
intimates  that  he  does  not  wish  to  strike  a  man  when 
he  is  down,  alluding,  probably,  to  Powell's  pecuniary 
distress,  and  simply  publishes  the  contract  with  Powell,, 
as  a  vindication  of  his  course.  Mr.  Barrett  played  one 
night  at  the  old  house  prior  to  its  closing.  Mr.  C.  S. 
Powell  gave  one  of  his  entertainments,  "  For  Rubbing 
off  the  Rust  of  Care,"  at  the  new  theatre  on  the  4th  of 
July,  1797;  and  Chalmers,  Williamson,  and  Barrett  also  > 


56  RECORD    OF   THE    BOSTON    STAGE. 

gave  an  olio  of  readings,  lectures,  recitations  and  songs, 
at  the  Columbian  Museum,  entitled  "  Nature  in  Nubibus, 
or  a  Melicosmeotes  —  an  antidote  for  the  spleen." 

The  Haymarket,  although  the  season  closed,  was 
opened  for  benefits  till  the  24th  of  July,  1797,  when 
Mr.  Hodgkinson  returned  to  Boston,  and  assumed  the 
management.  Dulnap  states  that  "  his  receipts  on  the 
opening  night  were  only  $220.  He  engaged  Mr.  and 
Mrs.  C.  Powell  at  $32  per  week ;  Mr.  and  Mrs. 
S.  Powell,  and  Miss  Harrison  at  $42 ;  Mr.  and  Mrs. 
Simpson,  and  two  Miss  "Westrays  at  $50 ;  and  Mrs. 
Pick  at  $12 ;  in  addition  to  his  company,  already  too 
large  for  the  time  ; "  and  the  same  authority  states,  that 
before  the  season  terminated,  his  expenses  were  $1,100 
per  week. 

In  September  of  this  year,  Hodgkinson  accomplished 
a  managerial  coup  de  theatre.  The  frigate  Constitution 
was  announced  to  be  launched  on  the  20th  from  Bal- 
lard  &  Hart's  yard.  The  President  of  the  United 
States,  John  Adams,  who  was  then  at  Quincy,  was  to 
be  present ;  and  thousands,  even  in  those  days  of  family 
vehicles,  were  expected  to  flock  in  to  see  the  "  pride  of 
the  Columbian  navy  "  glide  into  the  water.  Mr.  Hodg 
kinson  conceived  the  idea  of  dramatising  the  launch, 
;and  in  forty-eight  hours  completed  a  very  respectable 
.production.  The  parts  were  given  out,  the  scene 
^painter  wrought  out  on  canvas  a  representation  of  the 
launch,  and  for  the  night  of  the  event  it  was  announced ; 
its  attractive  features  more  vividly  and  glaringly  set 
forth  than  ever  Barnum  heralded  the  advent  of  any  of 
•his  novelties.  President  Adams,  the  Governor  and 
.Lieutenant-Governor  of  the  Commonwealth,  and  other 


RECORD    OF   THE   BOSTON    STAGE.  57 

dignitaries,  proceeded  to  the  yard ;  but  the  ship  only 
moved  about  twenty  feet,  where  she  remained  firm. 
The  papers  stated  that  the  contractor  was  unwilling  to 
risk  a  second  attempt  that  day  from  "motives  of 
safety ; "  and  others  thought  it  a  wise  dispensation  of 
an  overruling  Providence,  for  if  she  had  taken  to  the 
watery  element,  thousands  of  small  boats  filled  with  anx 
ious  visitors  would  have  been  swamped.  Another  unsuc 
cessful  attempt  was  made  subsequently  to  launch  this 
noble  frigate,  but  it  was  not  until  the  third  trial,  21st 
of  October,  1797,  that  she  finally  "  walked  the  waters," 
where  she  has  since  floated  with  such  honor  to  our 
country.  The  launch  at  the  theatre,  however,  came  off 
on  the  first  night  of  the  proposed  launch,  and  during  its 
performance,  the  following  song  was  sung  by  Tyler  — 
no  relation  to  Col.  J.  S.  Tyler:  — 

I. 

"  Come,  all  Columbian  sailors  here, 
Where  honest  hearts  are  void  of  fear, 
Who  wish  in  Freedom's  cause  to  steer, 

Huzza  for  the  CONSTITUTION. 
No  frigate  stems  the  watery  main 
'  Gainst  which  we  won't  her  rights  maintain; 
We  all  are  staunch 
To  our  favorite  Launch, 
No  pirate  but  we  will  make  fly, 
Prepared  to  conquer,  boys,  or  die, 

Along  Avith  the  CONSTITUTION. 

II. 

"  We  cruise  to  guard  our  country's  trade 
Not  other's  liberties  invade  ; 
Columbians  prize  the  laws  they've  made 

0'  the  glorious  CONSTITUTION. 
Oppi-ession  freemen  all  disdain, 
Yet  freedom's  cause  we  will  maintain 


58  RECORD    OF   THE    BOSTON    STAGE. 

'Gainst  all  the  world, 

Our  flag's  unfurled  ; 
We  fear  no  power,  we  know  no  friend  ; 
When  forced  our  commerce  to  defend 

With  the  frigate  CONSTITUTION. 

III. 

"  Sweet  Girls,  when  we  are  far  away 
We'll  still  retain  hope's  cheering  ray, 
That  love's  soft  ardor  will  repay 

Our  toils  in  the  CONSTITUTION. 
So  now  for  dangers  we  prepare 
Of  honor  each  to  gain  his  share, 
We  fearless  brave 
The  dashing  wave, 
You'll  cheer  us  on  as  we  bid  adieu, 
With  three  huzzas  to  the  jolly  crew 

Of  the  Federal  CONSTITUTION." 

The  Haymarket  closed  for  the  season  on  the  third  of 
November,  1797,  with  a  "  Cure  for  the  Heart  Ache," 
for  the  first  time  in  America.  Several  benefits,  how 
ever,  subsequently  took  place.  On  the  6th  of  Decem 
ber,  1797,  the  Federal  Street  opened,  the  company  com 
prising  Mr.  and  Mrs.  Bates,  Mr.  and  Mrs.  Baker,  Mr. 
and  Mrs.  Barrett,  Mr.  and  Mrs.  Harper,  Mr.  and  Mrs. 
C.  Powell  and  daughter,  Mr.  and  Mrs.  S.  Powell.  On 
the  22d  of  January,  1798,  Messrs.  Barrett  and  Harper 
assumed  the  management,  and  the  play  of  the  "  Roman 
Father  "  was  performed. 

During  the  summer  recess  the  old  theatre  had  been 
improved,  slightly  enlarged,  and  the  decorations  were 
new.  The  season,  under  Messrs.  Barrett  and  Harper, 
was  very  brief,  though  entirely  successful.  They  paid 
promptly,  and  every  thing  betokened  prosperity ;  the 
company  was  a  strong  one,  and  the  pieces  brought 


KECORD  OF  THE  BOSTON  STAGE.        0(J 

out  were  got?  up  with  great  care.  An  event  occurred, 
however,  which  checked  the  tide  of  prosperity. 

When  Mr.  Hodgkinson  was  in  Boston,  in  1794,  he 
had  two  dressing-rooms  built  in  the  rear  which  were 
heated  by  stoves.  On  the  afternoon  of  the  2d  of  Feb 
ruary,  1798,  the  porter  built  the  fires  as  usual,  and  left 
wood  under  the  stove  to  dry,  which  probably  ignited ; 
for  a  few  hours  afterwards,  fire  broke  out  in  that  por 
tion,  and  the  building  fell  a  prey  to  the  destructive 
flames.  Nothing  of  consequence  was  saved,  though 
in  the  attempt  to  rescue  a  portion  of  his  wardrobe,  Mr. 
Barrett  was  seriously  injured  by  the  falling  of  a  door. 
The  brick  walls  confined  the  fire  to  the  building,  though 
citizens  from  Charlestown,  Roxbury,  Dorchester,  and 
Cambridge  were  attracted  to  the  spot  by  the  great 
light,  and  were  "  indefatigable  in  their  efforts  to  sup 
press  the  flames."  §uch  was  the  magnitude  of  the  fire, 
that  an  elderly  friend  informs  us  that  he  well  remem 
bers  when  intelligence  reached  his  school,  where  he 
was  at  the  time,  that  the  master  immediately  dismissed 
the  boys,  who  rushed  to  the  conflagration.  The  stores 
were  generally  closed,  the  occupants  having  deserted 
their  ledgers  to  witness  the  fire.  The  cost  of  the  build 
ing  (including  probably  the  land)  was  seventy  thou 
sand  dollars,  and  only  one  share  was  covered  by  insur 
ance  ;  but  this  did  not  discourage  the  proprietors,  who 
at  once  resolved  to  rebuild,  with  all  expedition,  a  more 
elegant  and  commodious  edifice. 

The  Haymarket  at  that  time  had  been  leased  to  Mr. 
Hodgkinson.  Mr.  Barrett  at  once  obtained  a  lease  of 
it  for  a  month,  paying  ten  per  cent,  on  receipts  to  Hodg 
kinson  ;  and  a  series  of  benefits  for  the  actors  who  had 


60  RECORD    OF    THE    BOSTON    STAGE. 

suffered  by  the  fire,  took  place.  Dramatic  olios  were 
also  given  at  Mr.  Dearborn's  rooms  and  Bowen's  Co 
lumbian  Museum.  Mr.  Dearborn's  rooms  were  located 
in  Theatre  Alley.  This  gentleman  was  an  early  in 
structor  of  youth,  and  his  school-room  was  the  scene 
of  several  successful  attempts  at  private  theatricals. 
The  school-room  extended  over  that  portion  of  the 
building  afterwards  occupied  by  Mrs.  Dunlap. 

About  this  time  it  was  contemplated  to  lay  out  a  lot 
of  land  on  the  Cambridge  side  of  Charles  River  bridge, 
on  which  there  was  a  handsome  grove  of  trees  for  an 
American  Vauxhall ;  but  the  project  fell  through. 

The  opponents  of  theatricals  again  rallied,  and  pre 
tended  to  see  the  hand  of  God  in  the  destruction  of  the 
old  theatre.  Notices  at  once  appeared  in  the  different 
journals  against  theatrical  entertainments,  and  an  effort 
was  made  to  revive  the  law  against  them.  One  writer 
authorizes  the  editor  (Benjamin  Russell)  of  the  Genii- 
nel  to  state  that  he  will  contribute  three  hundred  and 
forty  dollars  towards  demolishing  the  Haymarket  The 
atre,  if  the  legislature  will  wisely  direct  the  same ;  and 
another  offers  to  relinquish  his  share  in  the  Haymarket, 
on  the  same  conditions,  trusting  that  "  the  good  citizens 
of  Boston  will  receive  the  destruction  of  the  old  thea 
tre  as  a  serious  admonition  to  encourage  the  design." 
The  "  solid  men  "  of  Boston  were  well  aware,  however, 
that  a  city's  prosperity  is  dependent  in  a  degree  upon 
its  public  amusements,  and  wisely  declined  listening  to 
the  gratuitous  advice  of  their  opponents. 


RECORD    OF    THE    BOSTON    STAGE.  61 


CHAPTER  IV. 

Visit  of  Cooper  to  Boston.  —  A  Biographical  Sketch.  —  Incidents  of 
his  Life.  —  Anecdotes.  —  His  Death.  —  The  Learned  Pig.  —  Open 
ing  of  the  Federal  Street  Theatre.  —  Visit  of  President  Adams  to 
the  Theatre.  —  Debut  of  Master  George  Barrett.  —  Death  of  Wash 
ington.  —  Observances  at  the  Theatre  in  Philadelphia.  —  Obsequies 
in  Boston.—  The  Monody  at  the  Theatre.  — Mr.  Whitlock's  Man 
agement.  —  Mrs.  Jones.  —  George  Barnwell.  —  Anecdote.  —  Pizar- 
ro.  —  Row  at  the  Theatre.  —  The  gloomy  Days  of  the  Drama. 

THE  destruction  of  the  theatre  was  seriously  felt  by 
the  corps  dramatique.  They  were  thrown  out  of  em 
ployment  at  a  season  when  the  southern  theatres  could 
afford  them  no  relief.  Several  members  went  to  Salem, 
and  gave  entertainments.  Mrs.  Powell  appeared  at  the 
Columbian  Museum,  and  Mr.  Barrett  gave  fencing  les 
sons,  prior  to  the  brief  season  at  the  Haymarket,  allu 
ded  to  in  the  previous  chapter. 

Hodgkinson  in  July,  1798,  re-opened  the  Haymarket, 
and  on  the  27th  Thomas  A.  Cooper,  the  tragedian, 
made  his  first  appearance  before  a  Boston  audience  as 
Hamlet,  a  character  he  had  sustained  in  London  with 
great  applause.  Mrs.  Hodgkinson  played  Ophelia. 
On  the  second  night  of  the  season,  owing  partly  to  the 
want  of  attraction,  but  mainly  to  the  presence  of  the 
yellow  fever,  the  house  was  so  thin  that  Mr.  Hodg 
kinson  dismissed  the  audience. 

Thomas  Apthorpe  Cooper,  the  son  of  an  Irish  sur 
geon,  was  boYn  in  1776.  His  father  was  an  Irish  gen 
tleman,  and  long  resided  at  Harrow  on  the  Hill.  He 
entered  the  service  of  the  East  India  Company,  and 


62  RECORD    OF   THE    BOSTON    STAGE. 

died  in  their  employ.  Cooper's  mother,  visiting  Hol 
land,  he  was  left,  when  about  nine  years  of  age,  with 
the  celebrated  William  Godwin,  who  superintended 
his  education,  with  the  assistance  of  the  celebrated 
Holcroft.  He  announced  his  intention  of  becoming  an 
actor,  and  his  friends  sent  him  at  once  to  Edinburgh, 
where  Stephen  Kemble  then  was.  He  was  recom 
mended  as  able  to  perform  Norval,  but  Kemble  at  once 
detected  a  lack  of  talent.  He  finally  made  his  debut 
in  the  part  of  Malcom,  and  he  was  hissed  before  he 
got  through  his  first  effort.  Mr.  Kemble's  verdict 
was,  "  Order  the  treasurer  to  pay  Mr.  Cooper  five 
pounds.  Mr.  Cooper,  I  have  no  further  service  for 
you."  Cooper  persevered,  however,  and  before  he  was 
nineteen  years  of  age  he  impersonated  Hamlet  and  Mac 
beth,  and  gained  the  applause  of  those  who  had  witnessed 
the  veteran  skill  of  Garrick  and  Kemble.  The  politi 
cal  tendency  of  Godwin  and  Holcroft  affected  their 
pupil.  The  critics  did  not  darkly  hint,  but  directly 
affirmed  that  he  was  a  Jacobin,  and  this  had  an  effect 
upon  his  success. 

In  1796,  Mr.  Wignell,  the  manager  of  the  theatres 
in  Philadelphia  and  Baltimore,  was  in  London,  and 
made  Cooper  an  offer  which  he  accepted,  and  arrived 
at  New  York  on  the  1 6th  of  October,  the  same  year, 
whence  he  proceeded  with  Wignell  to  Philadelphia,  and 
there  made  his  first  appearance  in  America  in  the  cha 
racter  of  Macbeth  on  the  9th  of  December.  His  suc 
cess,  at  first,  was  not  great,  but  he  had  not  then  reached 
the  height  he  afterwards  attained ;  and  it  is  stated  by 
Dunlap  that  on  the  night  of  his  first  benefit  in  America 
he  called  in  the  aid  of  an  elephant  to  fill  the  house. 


RECORD    OF    THE    BOSTON    STAGE.  63 

Cooper  soon  after  commenced  as  tarring  tour,  and  visited 
the  leading  cities.  At  one  period  he  was  quite  indif 
ferent,  and  rarely  correct  in  his  part;  but  he  after 
wards  recovered  from  this  fit  of  indolence,  and  took 
the  eminent  position  he  maintained  for  many  years. 
Cooper  was  connected  as  manager  with  many  theatres 
during  his  life.  His  great  coup  as  manager  was  the 
bold  stroke  he  made  in  England,  by  which  he  induced 
the  great  George  Frederick  Cooke  to  visit  this  country, 
which  we  shall  allude  to  in  a  sketch  of  that  eminent 
actor.  Mr.  Cooper,  although  an  Englishman,  became 
an  American  by  adoption.  He  made  several  profes 
sional  visits  to  London,  and  in  1827  appeared  at  Drury 
Lane.  He  was  damned  by  the  critics,  but  their  opin 
ions  were  not  the  unbiassed  expression  of  honest  minds. 
They  intend  to  rebuke  Mr.  Cooper,  not  only  for  his 
desertion  of  England  and  his  remark,  that  America 
was  the  country  of  his  love  and  adoption,  but  for  kid 
napping  Cooke,  and  his  supposed  enmity  to  Edmund 
Kean.  Cooper,  prior  to  1830,  had  exhibited  his  tal 
ents  in  sixty-four  theatres,  and  visited  every  State  in 
the  Union.  He  had  performed  four  thousand  five  hun 
dred  nights  and  travelled  over  twenty  thousand  miles  in 
this  country,  and  frequently  he  posted  in  his  own  vehi 
cle  between  New  York  and  Philadelphia.  Mr.  Cooper 
was  twice  married,  and  a  son  by  his  first  union  received 
an  appointment  in  the  navy  of  the  United  States. 

Cooper  received  a  large  amount  of  money  for  his  ser 
vices  ;  but  he  spent  it  with  a  prodigality  too  frequently 
characteristic  of  the  profession.  He  lived  in  the  most 
sumptuous  style,  and  a  more  tasty  equipage  than  his  did 
not  roll  through  Broadway.  His  society,  when  at  the 


64  RECORD    OF   THE    BOSTON    STAGE. 

zenith  of  his  popularity,  was  sought  for  by  the  most 
fashionable,  and  he  moved  in  the  best  literary  circles. 
The  day  of  misfortune,  however,  came  at  last,  and  he 
lingered  long  on  the  stage  after  the  prestige  of  his  name 
had  departed,  obliged  so  to  do  from  pecuniary  consid 
erations.  In  1834,  Mr.  Cooper  took  a  benefit  in  New 
York,  when  Miss  Priscilla  Cooper,  his  daughter,  made 
her  first  appearance.  The  play  was  Knowles's  "  Vir- 
ginius,"  and  the  fact  that  a  daughter,  more  in  hopes  of 
affording  a  support  to  an  aged  parent,  than  from  any 
predilections  for  the  stage,  was  to  appear,  attracted  a 
great  house.  During  the  first  scene,  as  well  as  the 
second,  there  was  an  anxiety  to  behold  the  young  daugh 
ter.  This  was  heightened  in  a  wonderful  degree,  when 
Virginius  (Cooper)  said:  "  Send  her  to  me,  Servia  "  — 
and  every  heart  beat  when  Virginia  (Miss  Cooper) 
came  tripping  in  and  stood  before  her  own  father,  say 
ing  :  "Well,  father,  what's  your  will?"  the  whole 
house  burst  forth  in  one  simultaneous  shout  of  appro 
bation,  louder  and  longer  than  Cooper  himself  had  ever 
received.  It  was  several  moments  before  he  was  ena 
bled  to  reply ;  and  indeed  he  could  not  if  he  would,  for 
both  the  father  and  daughter  were  so  overwhelmed 
that  their  feelings  found  utterance  in  tears.  Miss  Cooper 
subsequently  played  in  this  city. 

His  last  appearance  in  this  city  was  at  the  National 
Theatre,  and  to  alleviate  his  want,  benefits  were  given 
him  in  the  different  cities. 

Mr.  Cooper's  second  wife  was  a  daughter  of  James 
Fairlee  Esq.,  of  New  York,  by  whom  he  had  several 
children,  among  them  Miss  Priscilla  Cooper,  who  mar 
ried  Robert  Tyler,  Esq.  a  son  of  President  Tyler. 


RECORD    OF   THE   BOSTON    STAGE.  65 

Miss  Cooper  did  the  honors  of  the  White  House  under 
her  father-in-law,  and  secured  for  her  own  father  an 
appointment  in  the  Arsenal  near  Philadelphia,  and 
subsequently  at  the  Custom  House  at  New  York,  and 
he  died  at  Tyler's  residence  in  Bristol,  Pennsylvania, 
(April  21,  1849,)  with  perfect  calmness  in  the  arms  of 
his  daughters,  Mrs.  Tyler  and  Mrs.  Campbell.  He 
lies  in  the  old  churchyard  at  Bristol.  His  wife  and 
several  grand-children  are  around  him. 

"  Mr.  Cooper,  in  his  prime,"  says  a  critic,  "  possessed 
from  nature  the  primary  accomplishments  of  a  pleas 
ing  actor  ;  a  fine  person,  a  voice  of  great  compass,  of 
most  melodious  silver  tone,  and  susceptible  of  the  great 
est  variety  of  modulation  ;  an  eye  of  the  most  wonder 
ful  expression  ;  and  his  whole  face  expressive,  at  his 
will,  of  the  deepest  terror,  or  the  most  exalted  compla 
cency,  the  direst  revenge,  or  the  softest  pity.  His 
form  in  anger  was  that  of  a  demon  ;  his  smile  in  affa 
bility  that  of  an  angel." 

Another  writer  remarks  :  "  Mr.  Cooper  has  exceeded 
every  actor  that  ever  trod  the  American  boards  in  per 
sonal  requisites.  His  voice,  figure,  action,  and  coun 
tenance,  have  never  been  surpassed  ;  the  first  in  sweet 
ness,  fulness,  and  flexibility  ;  the  next  in  beauty  of  pro 
portions  ;  the  third  in  ease,  propriety,  and  grace  ;  and 
the  last  in  tragic  expression.  In  these  physical  excel 
lences  he  was  more  rare  than  in  his  judgment,  in 
which,  and  in  the  niceties  of  reading  and  power  of 
embodying  the  great  characters  of  Shakspeare,  he  was 
not  equal  to  some  other  actors." 

Mr.  Joseph  T.  Buckingham  said  of  Cooper,  in  1820  : 
"  Macbeth  is  Mr.  Cooper's  ^chef  cFceuvre.  He  is  per- 


G6  RECORD    OF   THE    BOSTON    STAGE. 

f  ectly  identified  with  the  character.  The  dagger  scene, 
which  he  plays  in  a  style  altogether  his  own,  is  one  of 
the  sublimest  efforts  of  histrionic  genius.  The  terrible 
agonies  of  his  mind,  which  proclaim  their  existence 
with  *  most  miraculous  organ,'  are  too  powerful  to  be 
long  the  object  of  attention.  In  the  latter  part  of  the 
play,  after  Macbeth  has  '  supped  full  with  horrors/  the 
moral  reflections  are  given  with  such  exquisite  beauty 
and  feeling,  that  we  almost  forget  the  crimes  of  the 
murder,  and  pity  the  wretched  victim  writhing  with 
the  tortures  of  his  own  conscience." 

Anecdotes  of  Cooper  are  numerous.  Joe  Cowell,  in 
his  book,  thus  notices  his  first  introduction  to  Cooper :  — 
"  A  day  or  two  after  he  addressed  me  behind  the  scenes 
with,  '  Mr.  Cowell,  no  one  has  been  civil  enough  to 
introduce  me  to  you,  therefore  I  am  compelled  to  do  it 
myself!'  and,  after  paying  me  some  very  handsome 
compliments,  ended  with  inviting  me  to  dine  with  him; 
and  we  have  been  very  intimate  ever  since ;  nor  do  I 
know,  in  my  large  list  of  acquaintances,  a  more  agree 
able  companion  than  Thomas  Cooper.  During  my 
residence  in  the  Northern  States,  I  was  a  frequent 
guest,  for  a  day  or  two  at  a  time,  at  his  delightful  cot 
tage  at  Bristol,  Pennsylvania ;  where  the  luxuries 
.attendant  upon  affluence  were  so  regulated  by  good 
taste,  that  Cooper  never  appeared  to  such  advantage  as 
when  at  home.  His  family  was  numerous,  and  very 
interesting.  He  used  to  boast  of  never  allowing  his 
•  children  to  cry.  '  Sir,  when  my  children  were  young, 
and  began  to  cry,  I  always  dashed  a  glass  of  water  in 
their  face,  and  that  so  astonished  them  that  they  would 
leave  off;  and  if  they  began  again,  I'd  dash  another, 


KECORD    OF   THE   BOSTON    STAGE.  67 

and  keep  on  increasing  the  dose  till  they  were  entirely 
cured." 

We  have  alluded  to  Cooper's  improvident  manner  of 
living.  It  is  stated  that  one  afternoon  he  was  standing  in 
Broadway  with  a  gentleman,  and  he  noticed  a  load  of 
hay  approaching.  "  I  will  bet  you,"  said  Cooper,  "  the 
value  of  my  benefit  to-night,  against  an  equal  sum,  that 
I  will  pull  the  longest  wisp  of  hay  from  this  load." 
"  Done,"  said  his  friend.  The  wisps  were  pulled,  and 
Cooper  lost.  "  Ah ! "  remarked  Cooper,  with  the 
greatest  nonchalance,  "  I've  lost  two  hours'  acting."  The 
benefit  netted  the  winner  upwards  of  $1,200. 

Mr.  Cooper's  performances  in  this  city  will  be  alluded 
to  as  we  proceed. 

The  theatre  after  Cooper's  failure  was  closed  for  a 
short  time,  when  it  was  re-opened  with  "  Jane  Shore," 
but  Hodgkinson,  whose  expenses  were  $900  per  week, 
called  his  company  together  and  dismissed  them  for 
want  of  proper  encouragement.  A  portion  of  the 
company  then  visited  Newport,  where  the  temporary 
theatre  was  lighted  by  huge  tapers,  burning  in  lard. 

During  that  summer,  Bostonians  were  almost  entirely 
deprived  of  amusements,  and  were  obliged  to  seek 
recreation  at  the  Columbian  Museum,  or  patronize  an 
exhibition  which  then  visited  the  city,  of  the  "  Learned 
Pig "  that  did  every  thing  but  speak.  The  Federal 
Street  Theatre,  however,  was  rapidly  rising,  much  im 
proved  in  its  interior.  The  architect,  Mr.  Bulfinch,  had 
exerted  himself  to  make  it  superior  to  any  theatre  in 
the  Union,  and  at  the  time  the  interior  was  finished,  it 
was  unsurpassed  for  neatness  and  chastity  of  design,  by 
any  on  this  continent.  With  some  few  alterations,  such 


68  RECORD    OF   THE    BOSTON    STAGE. 

as  the  substitution  of  the  parquette  for  the  pit,  and  the 
raising  of  the  stage,  changes  in  the  lobby,  it  remained 
till  pulled  down  in  1852,  the  same  in  general  design. 
On  the  29th  of  October,  1798,  Mr.  Hodgkinson  opened 
the  theatre.  The  pieces  performed  were  a  prelude,  called 
"  A  First  Night's  Apology,  or  All  in  a  Bustle,"  written 
by  Milne,  for  the  occasion ;  "  Wives  as  they  Were  and 
Maids  as  they  Are ; "  and  the  "  Purse,  or  American 
Sailor's  Return."  The  company  was  a  strong  one,  and 
included  Whitlock,  Chalmers,  Simpson,  Williamson, 
Villiers,  Kenny,  Mrs.  Hodgkinson,  Mrs.  King,  and  Mr. 
S.  Powell.  Mr.  Hodgkinson  spoke  a  dedicatory  ad 
dress,  written  by  Mr.  Paine,  which  commenced  as 
follows :  — 

"  Once  more,  kind  patrons  of  the  Thespian  art, 
Friends  to  the  science  of  the  human  heart, 
Behold  the  temple  of  the  Muse  aspire 
A  Phoenix  stage,  which  propagates  by  fire ! 

"  Each  fault  rescinded,  and  each  grace  renewed, 
By  magic  reared,  and  with  enchantment  viewed, 
Our  dome,  new  mantled,  'mid  its  ravaged  wall, 
Stands,  like  Antasus,  stronger  by  its  fall; 
And  like  Creusa's  ghost,  in  Trojan  strife 
Its  spectre  rises  larger  than  its  life !  " 

It  was  at  the  opening  of  the  Federal  Street  by  Hodg 
kinson,  that  Mr.  Dickson  became  attached  to  it  in  the 
capacity  of  prompter  and  deputy  manager. 

The  season  was  not  notable  for  any  decided  pecu 
liarity  worthy  of  comment,  and  it  closed  in  April.  The 
same  month,  Hodgkinson  opened  the  Haymarket,  with 
many  of  the  old  company  and  several  new  members. 
On  the  5th  of  June,  President  Adams  attended  the 
theatre,  when  Mr.  Hodgkinson  sang  Paine's  song  of 


RECORD    OF    THE    BOSTON    STAGE.  69 

Adams  and  Liberty.  The  receipts  during  the  season, 
however,  were  not  large,  and  Hodgkinson  closed  on 
the  4th  of  July,  and  left  Boston  never  to  return. 

Mr.  G.  L.  Barrett  was  the  next  manager  of  the 
Federal  Street,  and  the  season  commenced  October 
14thj  1799,  when  "Laugh  when  you  Can,  Be  Happy 
when  you  May,"  with  other  plays  was  brought  out. 
The  leading  characters  in  the  comedy  were  sustained 
by  Barrett,  Harper,  Whitlock,  Kenny,  Simpson,  Mrs. 
Whitlock,  Mrs.  Simpson,  Mrs.  Harper,  Miss  E.  West- 
tray,  Mrs.  Graupner ;  and  the  present  George  Barrett 
made  his  first  appearance  on  any  stage  as  the  child. 
Mr.  Snelling  Powell  and  Mr.  Bates  soon  after  joined 
the  company. 

In  December  of  1799,  an  event  occurred  which 
threw  a  nation  into  mourning,  and  caused  a  gloom  to 
overspread  the  land.  About  the  24th  of  the  month  tid 
ings  reached  Boston  that  WASHINGTON  WAS  DEAD.  In 
every  part  of  the  country,  the  obsequies  in  memory  of  this 
great  man  were  observed,  and  the  theatre  joined  in  the 
public  testimony  for  the  loss  of  America's  Hero.  In  Phil 
adelphia,  on  the  28th,  the  theatre,  which  was  literally 
full  to  overflowing,  displayed  a  scene  calculated  to 
impress  the  mind  with  the  utmost  solemnity  and  sorrow. 
The  pillars  supporting  the  boxes  were  encircled  with 
black  crape,  the  chandeliers  decorated  with  the  insignia 
of  woe,  and  the  audience,  particularly  the  female  part, 
appeared  covered  with  the  badges  of  mourning.  About 
seven  o'clock  the  band  struck  up  "Washington's 
March ; "  after  which  a  dirge  was  played,  when  the 
curtain  slowly  rising,  discovered  a  tomb  in  the  centre 
of  the  stage,  in  the  Grecian  style  of  architecture ;  in 


70        RECORD  OF  THE  BOSTON  STAGE. 

the  centre  of  it  was  a  portrait  of  the  General,  encircled 
by  a  wreath  of  oaken  leaves;  under  the  portrait,  a 
sword,  shieldj  and  helmet,  and  the  colors  of  the  United 
States.  The  top  was  in  the  form  of  a  pyramid,  in  the 
front  of  which,  appeared  the  American  Eagle,  weeping 
tears  of  blood  for  the  loss  of  her  General,  and  holding 
in  her  beak  a  scroll,  on  which  was  inscribed :  "  A 
Nation's  Tears."  The  sides  of  the  stage  were  decorated 
with  black  banners,  containing  the  names  of  the  several 
States  of  the  Union.  January  the  10th,  1800,  was  the 
day  devoted  by  the  citizens  of  Boston  to  a  public 
exhibition  of  that  sorrow  which  preyed  on  every  heart. 
The  bells  of  the  several  meeting-houses  were  tolled  at 
various  periods  of  the  day.  Services  were  held  in  the 
South  Meeting  House,  consisting  of  prayer  by  Rev. 
Dr.  Eckley,  a  hymn  by  Rev.  J.  S.  Gardiner,  a  eulogy 
by  Hon.  George  R.  Minot,  and  appropriate  music. 
The  theatre,  when  the  news  of  Washington's  death  was 
received,  remained  closed  during  the  week,  but  on  the 
evening  of  the  public  ceremonies  it  was  opened,  and 
a  monody,  according  to  the  following  notice,  was  de 
livered  after  the  plays  :  — 

A  MONODY, 

ON  THE   DEATH   OF 

GENERAL   WASHINGTON. 

By  Mrs.  Barrett, 
In  the  character  of  the 

GENIUS   OF   AMERICA 

Weeping  over  the  tomb  of  her  beloved  HERO. 

With  a  solemn  March  of  Officers,  Drums,  Fifes,  Band  of  Music  — 
Soldiers  with  Arms  and  colors  reversed,  forming  a  Grand  Proces 
sional  Dirge.  After  the  recital,  Military  Honors  will  take  place 
over  the  Monument  of  the  departed,  but  never  to  be  forgotten 

SAVIOUR  OF  HIS   COUNTRY. 


RECORD    OF    THE    BOSTON    STAGE.  71 

N.  B.  —  The  theatre  will  be  hung  with  black,  and  every  tribute  of 
respect  due  to  the  melancholy  occasion  properly  attended  to. 

The  monody  was  the  production  of  John  Lathrop, 
Esq.  Mrs.  Barrett's  figure,  manner,  attitude,  and 
pathetic  voice,  were  finely  adapted  to  convey  the  senti 
ments  and  feelings  of  its  author.  We  append  this  pro 
duction  :  — 

"  Hung  be  the  heavens  in  black,  with  pallid  gleam, 
Portentous  moon,  effuse  thy  specter' d  beam! 
Earth!  wrap'd  in  sable  shrouds,  in  solemn  state, 
Expressive,  muse  thy  loss,  and  mourn  thy  fate  — 
A  nation's  tears  o'er  worth  divine  are  shed, 
For  god-like,  matchless  WASHINGTON,  is  dead  — 
Afflicted  nature  looks,  but  looks  in  vain, 
Among  her  sons  to  find  his  like  again ; 
The  drooping  Muses  to  their  grove  retire, 
And  breezes  sigh  thro'  each  neglected  lyre, 
While  holy  Freedom  views  with  sad  dismay, 
Thy  victory,  death!  thy  most  triumphant  day!  — 
Her  saviour  gone,  ah !  whither  shall  she  fly  ? 
Where  turn  her  steps,  or  rest  her  anxious  eye  ? 

"  Columbia's  genius  to  her  tomb  repairs, 
Deep  —  deep  the  gloom,  her  brow  majestic  wears  \. 
Fix'd  to  the  sacred  spot  the  mourner  stands, 
And  views  with  frenzied  glare  her  martial  bands ; 
Recalls  that  form,  which  long  before  them  strode 
With  soul  and  force,  and  motion  like  a  God  — 
And  sees  that  sword,  which,  when  a  foe  was  nigh, 
Flam'd  like  Jove's  lightning  darting  thro'  the  sky.. 

"  See  where  yon  hardy  veteran  weeps  his  friend ; 
Well  may  the  soldier  o'er  the  hero  bend, 
Cold  is  that  heart,  whose  patriotic  fire, 
Could  coward  hosts  with  dauntless  rage  inspire, 
Nerve  the  weak  arm,  a  conqueror's  sword  to  wield,. 
And  bid  VICTORIA  thunder  o'er  the  field  — 
Ah !  he  who  oft  our  firm  battalions  led  — 
To  fame  —  to  freedom  —  WASHINGTON  is  DEAD. 


72        RECORD  OF  THE  BOSTON  STAGE. 

"  From  realms  of  glory,  sainted  spirit  deign, 
To  guard  and  guide  Columbia's  grateful  train, 
Still  in  the  Senate,  be  thy  wisdom  found, 
Still  may  thy  virtues  in  our  lives  abound  — 
Thou  art  not  lost  while  pensive  memory  pays, 
To  thy  long  services,  her  willing  praise. 
Each  mighty  deed  a  bright  example  shines, 
Exalts  the  mind  and  every  sense  refines. 
Tutor1  d  by  thee,  ingenuous  youth  aspires 
To  place  his  name  among  yon  starry  fires, 
Follows  the  track  thy  feet  with  zeal  pursu'd 
And  heart  devoted  to  the  public  good. 

•"  Behold  the  Chief !  —  sublime  he  mounts  on  high  — 
What  light  unusual  spreads  along  the  sky  ? 
:From  East  to  West  the  gates  of  heaven  unfold :  — 
Now  blaze  immortal  thrones  with  gems  and  gold, 
Angels  approach  to  pay  him  honors  due  —  \ 

Impervious  splendors  hide  him  from  our  view        > 
Oh!  radiant  saint!  our  guardian  God  —  ADIEU."  * 

The  grief  which  prevailed  throughout  the  com 
munity  at  this  irreparable  loss,  was  detrimental  to  the 
atrical  performances,  and  though  Mr.  Barrett  managed 
the  theatre  with  industry  and  tact,  the  expenses  ex 
ceeded  the  receipts.  He  had  during  a  visit  to  New 
York  become  involved  in  debt,  which  he  endeavored 
to  pay  by  his  earnings  in  Boston,  and  these  with 
Bother  causes,  brought  the  season  to  an  early  close,  on 
the  28th  of  April,  when  Mr.  Barrett  took  a  benefit, 
.and  Mrs.  Cowley's  "Bold  Stroke  for  a  Husband" 
-was  first  introduced  to  a  Boston  audience. 

In  the  summer  of  1800,  Mr.  C.  E.  Whitlock  engaged 
the  theatre,  and  at  once  set  out  for  England  in  search 
of  attractions,  t>ut  he  was  not  very  successful.  He 
returned  and  commenced  the  campaign  on  the  27th  of 
'October,  with  "Speed  the  Plough"  and  "  Rosina." 


RECORD    OF    THE    BOSTON    STAGE.  73 

His  company  comprised  several  old  favorites,  and  the 
most  noted  new  one,  wKose  name  has  come  down  to  us, 
was  Mrs.  Jones,  who  proved  a  valuable  acquisition  to 
the  company.  She  was  one  of  three  daughters  of  a 
respectable  physician  in  London,  by  the  name  of  Gran 
ger,  who,  dying  while  she  was  young,  left  her  in  the 
care  of  a  mother  and  grandmother,  Mrs.  Booth  of 
Drury  Lane.  His  circumstances  at  his  death  not  being 
flourishing,  the  grandmother  took  this  daughter  under 
her  own  care  and  introduced  her,  at  an  early  age,  as  a 
singer  at  the  theatre  where  she  was  herself  engaged. 
Miss  Granger  was  married  to  Mr.  Jones  a  short  time 
previous  to  her  embarking  for  America.  In  ballad 
and  pathetic  style  of  music,  she  was  unrivalled,  and  in 
comedy  and  farce,  she  was  equally  good.  Mrs.  Jones, 
after  leaving  Boston,  performed  at  the  South ;  and  in 
180G,  maintained  her  four  children  by  her  exertions  in 
New  York,  her  husband  having  separated  from  her. 
She  died  in  New  York  on  the  llth  of  November,  1806, 
aged  twenty -four,  leaving  four  young  orphans.  In  her 
private  relations,  Mrs.  Jones  is  highly  spoken  of,  and 
though  the  object  of  public  admiration,  "  she  bore  her 
faculties  so  meekly,  that  the  lowest  underling  of  the 
theatre  was  more  presuming  than  she." 

At  this  time  the  custom  was  imported  from  England 
of  presenting  "  George  Barnwell,"  once  or  twice  during 
each  season,  and  its  moral  eifect  is  alluded  to  in  the 
Boston  Gazette  of  that  day.  It  is  related  on  good 
authority,  that  when  Mr.  Ross  performed  the  character 
of  George  Barnwell  in  England,  in  the  year  1752,  the 
son  of  an  eminent  merchant  was  so  struck  with  certain 
resemblances  to  his  own  perilous  situation,  (arising 


74  RECORD    OF   THE    BOSTON    STAGE. 

from  the  arts  of  a  real  Millwood,)  that  his  agitation 
brought  on  a  dangerous  illness,  in  the  course  of  which 
he  confessed  his  error,  was  forgiven  by  his  father,  and 
was  furnished  with  the  means  of  repairing  the  pecuni 
ary  wrongs  he  had  privately  done  his  employer.  Mr. 
Ross  says,  "  Though  I  never  knew  his  name,  er  saw 
him  to  my  knowledge,  I  had  for  nine  or  ten  years,  at 
my  benefit,  a  note  sealed  up  with  ten  guineas  and  these 
words :  '  A  tribute  of  gratitude  from  one  who  was 
highly  obliged,  and  saved  from  ruin,  by  witnessing  Mr. 
Ross's  performance  of  George  J3armvell.' "  The  anec 
dote  must  convince  the  most  rigid  moralists  that  the 
stage  at  times  inculcates  lessons  of  high  morality,  and 
the  mirror  which  it  holds  up  is  not  always  devoid  of 
effect. 

Mr.  "Whitlock  brought  out  this  season,  "  Pizarro  in 
Peru,  or  the  Death  of  Rolla."  He  put  it  on  the  stage 
in  an  admirable  style,  new  scenery  painted  by  Mr. 
Bromley,  scenic  artist  from  Drury  Lane,  new  dresses, 
and  for  the  first  time  in  Boston,  the  original  music. 
It  had  a  long  and  successful  run.  In  the  month  of 
March  the  theatre  was  the  scene  of  a  political  row, 
which  caused  considerable  excitement.  A  comic  opera 
called  the  "  Lock  and  Key,"  was  brought  out  in  which 
Cheerly,  Mr.  Story,  gave  a  song  commemorating  the 
bravery  of  the  English  tars,  as  displayed  in  the  engage 
ment  of  the  Aratheusa  with  a  French  frigate.  "  It  did 
not,"  says  a  critic,  "  in  reality  contain  any  thing  offen 
sive  to  an  American  ear,  unless  it  be  derogatory  to 
consider  ourselves  the  descendants  of  a  brave  nation." 
The  song  was  encored,  and  repeated  with  general 
applause  and  partial  hisses,  which  by  the  lively  jeal- 


• 

RECORD    OF    THE   BOSTON    STAGE.  75 

ousy  of  party  spirit,  then  dominant,  was  construed  into 
mutual  insult.  The  first  night  was  only  a  first  rehear 
sal  ;  the  second  night  more  clamor  occurred,  and  on  the 
third  night  the  heroes  of  the  sock  became  passive  spec 
tators  and  the  audience  the  principle  actors,  and  pre 
sented  a  medley  entertainment  in  its  finished  state,  so 
far  as  disorder  can  approximate  to  perfection.  The 
attempt  to  stop  the  song,  was  ineffectual;  for  the 
friends  of  the  theatre  prevailed.  The  following  appeared 
in  the  Boston  Gazette,  and  contains  personal  allusions 
to  the  actors  before  the  scenes :  — 

SCENE, 

THE   FEDERAL,  STREET   THEATRE. 

The  man  of  leather  high  his  station  took, 
Whence  gods  above  the  scenes  below  o'erlook; 
The  spotless  lawyer,  and  his  comrades  sit 
Amidst  the  motley  critics  of  the  pit  — 
While  Galen  bold  a  safe  position  chose 
To  feel  amid  the  storm  secure  repose. 
In  front,  in  flank,  and  rear  the  softer  sex 
The  friend  of  freedom  and  France  protects, 
Around  their  myrmidons,  a  patriot  band, 
For  noise  and  mischief  ripe  attentive  stand  — 
Soon  as  the  odious  verse  assails  the  ear, 
Soon  as  the  feats  of  British  tars  they  hear  — 
A  sullen  murmur  thro'  their  ranks  resounds, 
A  goose-like  hiss,  the  obnoxious  passage  drowns. 
With  rage  and  grog  inflam'd  the  patriots  rise, 
And  horrid  oaths  and  curses  rend  the  skies. 
But  ah  !  in  vain  !  the  friends  of  France  oppose, 
For  federal  fingers  greet  each  patriot  nose. 
Though  slow  to  wrath,  the  sons  of  order  move 
When  roused  —  impetuous  —  firm  —  resistless  prove, 
With  honest  fire  their  clubs  and  weapons  wield, 
Their  battered  foes  inglorious  quit  the  field. 

In  May  the  theatre  closed  with  "  Macbeth,"  —  Mac- 


76  RECORD    OF    THE    BOSTON    STAGE. 

beth,  Rutley ;  Banquo,  Mr.  Whitlock ;  Lady  Macbeth, 
Mrs.  Whitlock ;  with  the  whole  of  the  original  airs  and 
choruses  of  Matthew  Lock,  got  up  under  the  direction 
of  Mr.  Graupner. 

The  season  resulted  in  a  loss  of  four  thousand  dol 
lars  to  Mr.  Whitlock.  Thus  far  the  theatre  had  proved 
but  a  sorry  speculation  for  managers;  all  had  either 
become  bankrupt,  or  left  it  poorer  than  they  entered  it. 
A  brighter  day,  however,  was  coming,  and  the  succeed 
ing  chapters  will  delineate  a  more  pleasing  picture  of 
early  theatricals  in  this  city.  All  honor,  however,  is 
due  to  those  who  struggled  manfully  against  the  tide 
which  opposed  them,  and  through  whose  efforts  the 
drama  finally  attained  a  firm  position. 


CHAPTER  V. 

Tragedy  in  real  Life.  —  Powell  and  Harper's  Management.  —  Mr. 
Cromwell.  —  Success  of  the  Theatre.  —  Munroe  and  Francis.  — 
Edition  of  Shakspeare.  —  Closing  of  the  Haymarket.  —  Its  destruc 
tion. —  Mrs.  Darley. — Mr.  Dickson's  Sir  Anthony  Absolute. — 
Mr.  John  Bernard.  —  A  brief  Sketch.—  Death  of  Hamilton.  —  Fox. 
—  Cooper's  first  appearance  at  the  'Boston  Theatre.  —  "  Cooper  or 
No  Play."—  Row  at  the  Theatre.  — The  Benefit  Season. —Mr. 
Bernard's  return  to  England.  —  Xon  arrival  of  the  Vessel.  —  Master 
Loring.  —  Hon.  Mrs.  Twistleton.  —  Mr.  Caulfield.  —  S.  P.  Q.  A.  — 
The  Columbian  Museum,  &c.  &c. 

IN  the  summer  of  1801  a  tragedy  in  real  life  excited 
the  attention  of  the  citizens  of  Boston,  and  for  a  time 


RECORD    OF   THE    BOSTON    STAGE.  77 

entirely  engrossed  public  attention.  We  allude  to  the 
murder  of  Miss  Fales,  by  Jason  Fairbanks.  The  trial 
was  the  great  topic  of  the  day,  and  various  opinions 
were  entertained  of  the  guilt  of  the  accused,  whom  it 
will  be  remembered  gave  information  of  the  murder  of 
Miss  Fales,  stating  that  she  took  her  own  life.  He 
was  found  guilty,  and  on  the  10th  of  September,  by  a 
warrant  from  authority,  was  removed  from  the  Boston 
jail  to  the  line  of  the  county  of  Norfolk,  where  he  was 
received  by  the  sheriff  of  Norfolk,  attended  by  the  Rox- 
bury  troop  of  horse,  and  conveyed  to  the  jail  in  Ded- 
ham,  from  whence  he  was  conducted,  under  the  escort 
of  a  detachment  of  one  hundred  of  a  volunteer  guard 
of  the  inhabitants  of  Dedham,  to  the  place  of  execution 
on  the  common,  where  he  was  hung  between  two  and 
three  o'clock.  He  did  not  confess  the  deed,  though 
attempts  were  made  by  several  clergymen  to  induce 
him  to  acknowledge  his  guilt,  but  maintained  a  stoical 
indifference. 

On  the  30th  of  November,  1801,  the  Federal  Street 
opened  under  Messrs.  Powtell  &  Harper,  with  a  fair 
company.  Mrs.  Snelling  Powell  and  Mrs.  Whitlock 
were  of  the  company,  and  Mr.  Cromwell  made  his 
debut. 

Mr.  Cromwell  was  an  American  by  birth,  and  had 
appeared  in  New  York.  He  went  to  England  and 
played  at  Drury  Lane.  One  of  the  journals  made  the 
rather  equivocal  remark,  that  "  this  Cromwell  is  no 
Pretender."  Like  actors  of  modern  days,  he  procured 
the  insertion  of  favorable  puffs  in  the  London  papers, 
and  upon  these  false  representations  he  was  engaged 


78        RECORD  OF  THE  BOSTON  STAGE. 

by  the  managers  of  the  Boston  Theatre,  but  they  found 
that  the  article  was  not  up  to  invoice  value. 

The  managers  were  enabled  to  pay  their  bills,  but 
did  not  accumulate  a  fortune.  The  season  closed  in 
June,  but  the  theatre  was  opened  on  the  fourth  of  July. 
The  Haymarket  was  opened  during  this  and  subsequent 
years  for  a  few  evenings  by  strolling  companies,  but  it 
paid  the  proprietors  so  poorly,  that  it  was  offered  for 
sale.  Boston  could  not  then  support  two  theatres  — 
and  even  now,  two  regular  and  legitimate  houses  of 
theatrical  representation,  find  it  any  thing  but  easy  work 
to  fill  their  coffers. 

During  the  summer  of  1802,  Messrs.  Munfoe  & 
Francis  published  a  12mo.  edition  of  Shakspeare's 
Works,  the  first  edition  ever  issued  in  this  city.  It  was 
published  in  numbers,  and  sold  at  fifty  cents.  The 
notes  were  rewritten  and  condensed  by  Mr.  Munroe 
from  an  English  edition,  and  subsequently  adopted  by 
several  publishers.  The  plays  were  set  up  in  type, 
and  an  edition  of  about  three  thousand  copies  worked 
on  a  hand  press.  The  publishers,  we  are  happy  to 
say,  were  repaid  for  their  arduous  labors,  and  the  firm 
was  only  dissolved  in  1853,  by  the  death  of  David 
Francis,  which  occurred  on  the  20th  of  March.  He 
died  respected  by  the  residents  of  a  city  whose  early 
literature  he  was  instrumental  in  forming. 

The  opening  of  Federal  Street,  on  the  27th  of 
October,  1802,  by  Snelling  Powell,  brings  us  to  a  period 
of  theatrical  prosperity  previously  unknown.  For  four 
years  from  this  date,  Mr.  Snelling  Powell  was  the  sole 
manager,  and  by  perseverance,  tact,  and  talent,  he  was 


RECORD    OF    THE    BOSTON    STAGE.  79 

enabled  at  the  close  of  each  season  to  issue  the  follow 
ing  agreeable  document  :  — 


All  persons  having  demands  on  the  theatre,  are  requested  to 
send  their  accounts  to  the  manager  for  settlement  on  Saturday  noon. 

Mr.  Powell  was  thus  thejirst  successful  manager  of 
a  theatre  in  Boston.  He  adopted  a  straightforward 
course,  and  honorably  kept  his  engagements,  and  by 
offering  to  the  public  entertainments  worthy  of  patron 
age,  "  conjured  back  into  the  boxes,"  to  borrow  an 
expression  of  a  critic  of  those  days,  "  the  long  absent 
taste  and  beauty  of  Boston."  Early  in  March,  1803, 
the  Haymarket  Theatre  was  sold  at  auction,  under 
condition  that  the  materials  be  removed  within  sixty 
days.  The  land  was  subsequently  disposed  of.  This 
gave  a  clear  field  to  the  old  theatre,  and  the  lovers  of 
the  chaste  and  regular  drama  found  in  Mr.  Powell 
one  who  only  required  encouragement  to  serve  the  pub 
lic  most  faithfully.  It  would  perhaps  prove  unin 
teresting  to  follow  in  detail,  season  after  season,  the 
success  of  this  theatre  during  the  four  years  it  was 
solely  under  Mr.  Powell's  management,  but  we  will 
allude  to  such  events  as  may  serve  to  illustrate  the 
progress  of  the  drama,  or  interest  from  association  the 
elderly  reader.  The  company  of  1802  and  1803, 
included  Messrs.  Harper,  Taylor,  Barrett,  Begnall, 
Kenny,  Wilmot,  Mr.  and  Mrs.  Dickson,  Mrs.  Harper,  ' 
Mrs.  Powell,  and  the  charming  Mrs.  Darley,  formerly 
Miss  E.  Westray,  who  first  appeared  at  the  Haymarket, 
and  her  husband.  It  was  during  this  season  that  Mr. 
Dickson  first  astonished  the  critics,  and  delighted  the 
audiences  by  giving  proof  of  histrionic  talent,  which 


80  RECORD    OF  .THE    BOSTON    STAGE. 

many  were  surprised  to  see  evinced  by  one  who, 
although  a  very  clever  actor  and  a  general  favorite,  had 
been  content  to  appear  only  in  minor  parts,  eliciting 
applause  merely  for  a  truly  comic  and  original  style  of 
acting.  On  the  31st  of  December,  1802,  the  play  of 
the  "  Rivals  "  was  revived,  after  a  lapse  of  four  years, 
and  Mr.  Dickson  sustained  Sir  Anthony  Absolute  with 
such  marked  effect,  that  for  years  he  was  the  sole 
impersonator  of  this  character,  which,  though  often 
attempted,  is  rarely  portrayed  to  the  satisfaction  of 
the  critical. 

The  season  of  1803  and  1804  witnessed  the  re-ap 
pearance  of  Mrs.  Jones,  after  an  absence  of  four  years, 
who  again  resumed  her  enviable  position  as  a  Boston 
favorite ;  and  Mr.  Henry  Whitlock,  son  of  the  cele 
brated  Mrs.  Whitlock,  then  only  sixteen  years  of  age, 
made  his  first  appearance  as  Young  Norval.  The 
critics  pronounced  him  "  a  rough  diamond  who  wants 
the  assistance  of  the  lapidary."  Mr.  John  Bernard, 
subsequently  manager  of  the  theatre,  also  made  his  ap 
pearance  this  season,  and  proved  a  very  valuable  acces 
sion.  His  wife,  Mrs.  Bernard  appeared,  but  did  not 
possess  any  great  claims  to  distinction.  Mr.  Bernard 
was  a  discriminating  actor  in  the  presentment  of  "  many 
colored  life,"  excelling  more  particularly  in  the  comic. 
Many  comedians  are  too  much  in  the  habit  of  dashing 
the  pound  brush,  and  all  they  aim  to  throw  upon  the 
canvas  is  a  dazzling  confusion  of  the  primary  colors, 
without  extermixture,  gradation,  or  lineament.  It  was 
not  so  with  the  designs  of  Mr.  Bernard ;  his,  if  not  the 
pencil  of  Titian,  was  at  least  that  of  Hogarth.  His 
father  was  lieutenant  in  the  English  navy,  and  Ber- 


RECORD    OF    THE    BOSTON    STAGE.  81 

nard,  who  was  born  at  Portsmouth,  England,  in  1756, 
first  received  that  applause  which  prompted  him  to 
adopt  the  stage  as  a  profession,  when  performing 
"  Hamlet "  at  an  exhibition  given  by  the  pupils  of  an 
academy.  He  performed  in  several  theatres  in  Eng 
land,  and  was  a  popular  actor  at  the  Theatre  Royal, 
Covent  Garden,  London,  where  he  performed  light 
comedy,  fops,  etc.,  and  after  the  decease  of  the  celebrated 
Edwin,  he  succeeded  him  in  many  of  his  principal  parts. 
In  the  summer  of  1797,  he  visited  America  under  ther 
auspices  of  Mr.  Wignell,  making  his  bow  before  an, 
American  audience  at  the  Greenwich  Street  Theatre,, 
New  York. 

During  the  summer  of  1804,  the  theatre  remained 
closed,  excepting  the  usual  performances  given  on  elec 
tion  day,  and  on  the  4th  of  July.  On  the  26th  of 
July,  in  this  year,  the  citizens  of  Boston  paid  a  tribute 
of  respect  to  Alexander  Hamilton,  whose  death  was 
consequent  on  the  duel  between  that  great  and  good 
man,  and  Aaron  Burr.  The  details  of  this  duel,  forced, 
upon  Hamilton,  are  familiar  to  all.  His  death  was 
regarded  as  a  public  affliction,  and  in  all  the  principal 
cities  obsequies  in  his  honor  were  observed.  In  this 
city,  at  an  early  hour,  the  vessels  in  the  harbor  dis 
played  their  colors  at  half  mast,  the  public  offices  were 
closed,  and  outward  demonstration  marked  the  sincerity 
of  inward  grief.  At  noon  a  very  large  and  respectable 
procession,  under  escort  of  the  Independent  Corps  of 
Cadets,  moved  from  the  State  House  to  the  Chapel, 
where  the  Hon.  Harrison  Gray  Otis  delivered  an 
eulogy  on  the  deceased,  in  which  he  gave  a  biographical 
6 


82        RECORD  OF  THE  BOSTON  STAGE. 

sketch  of  his  character,  and  paid  a  just  tribute  to  his 
worth. 

The  season  of  1804  and  1805  commenced  in  Octo 
ber.  Mr.  Fox  from  the  southern  theatres  was  the  only 
new  face,  but  the  receipts  of  the  first  week  were  greater 
than  were  ever  before  received  for  the  same  period  of 
time.  Mr.  Fox  was  originally  an  engraver  in  Phila- 
'delphia.  He  had  a  great  impediment  in  his  speech, 
;and  stuttered  so  badly,  that  when  he  first  made  applica 
tion  for  an  engagement  he  was  laughed  at.  They  gave 
.him  a  trial,  however,  and  on  the  stage  there  was  not 
the  least  hesitation  or  peculiarity.  He  was  a  versatile, 
.pleasant  actor,  good  in  tragedy,  comedy,  or  comic 
•  opera. 

In  the  month  of  March,  1805,  Mr.  Cooper,  then 
^recently  returned  from  Europe,  arrived  in  Boston. 
The  benefit  season  had  commenced,  and  Mr.  Powell 
•was  bound  in  the  articles  of  agreement  with  his  stock 
company,  not  to  employ  any  extraneous  aid,  and  there 
fore  no  opening  was  offered.  His  friends  remonstrated, 
but  the  stock  stated  that  their  expenses  would  be  so 
:materially  increased,  that  their  benefits,  which  in  these 
days  were  harvests  indeed,  would  be  seriously  impaired, 
,and  announced  their  determination  to  hold  Mr.  Powell  to 
,his  contract.  The  manager  desired  to  engage  Mr. 
Cocper,  in  accordance  with  the  wishes  of  the  public, 
'but  both  his  pecuniary  interest  and  his  honor  were 
.against  the  arrangement.  Thus  placed  between  two 
fires,  it  was  a  difficult  question  to  decide  what  course  to 
: pursue  ;  for  within  the  theatre  there  was  a  cry  of  "  We 
.do  n't  want  him,"  and  outside,  "We  must  have  him." 


RECORD    OF    THE    BOSTON    STAGE.  83 

Thus  the  matter  stood,  and  the  curtain  went  up.  Mr. 
Cooper  occupied  a  prominent  position  in  the  dress 
circle  apparently  determined  to  appear  before,  the 
public,  if  not  allowed  on  the  stage.  The  play  passed 
off,  and,  as  usual,  the  benefit  of  the  next  night  was 
announced.  At  this,  Mr.  Cooper's  friends,  scattered  in 
different  parts  of  the  house,  shouted  out,  "  Cooper  or 
no  play ;  "  and  "  Cooper  or  no  play "  was  reiterated 
from  all  parts  of  the  house.  Mr.  Dickson,  who  was  on 
the  stage  at  the  time,  singled  out  one  of  Mr.  Cooper's 
friends,  who  was  foremost  in  creating  the  disturbance, 

and,  pointing  to  him,  said  :   "  Very  well,  Mr. ,  no 

play  then."  The  following  day  rumors  were  current 
that  the  house  would  be  packed  by  Cooper's  friends,  who 
determined  to  carry  out  their  threat  of  "  no  play,"  and 
taking  the  advice  of  several  distinguished  friends  of 
the  theatre,  who  were  anxious  to  avoid  a  riot  at  any  sac 
rifice,  the  house  was  closed,  and  the  money  refunded  to 
purchasers  of  tickets.  Mr.  Cooper,  somewhat  chagrined, 
probably,  at  the  serious  aspect  of  affairs,  and  the  un 
justifiable  attempt  to  force  the  management  to  an  en 
gagement,  which  certainly  would  prove  unprofitable  to 
the  actors,  intimated  a  desire  to  consult  with  the  parties. 
The  place  of  meeting  was  at  Julian's  ;  and  Mr.  Powell, 
Mr.  Dickson,  and  Mr.  Cooper  there  sat  down,  and 
over  a  chop,  perhaps  a  glass  of  port,  which,  "full  of 
bounty,  prompts  the  open  hand,"  made  a  satisfactory 
arrangement.  Mr.  Cooper  was  very  liberal  in  his  terms. 
Taking  the  list  of  benefits  to  come  off,  he  said,  "  There, 
I  will  play  gratuitously  for  this  one  and  that  one,  for 
they  are  sure  of  a  full  house  without  me,  and  how 
much  will  these  actors  probably  receive,  Mr.  Dickson  ? " 


84  RECORD    OF   THE    BOSTON    STAGE. 

"  A  hundred  dollars  is  about  the  average." 

"Well,  then,  replied  Cooper,  "I  will  share  with 
them,  after  they  have  received  their  hundred  dollars." 

All  parties  being  satisfied,  Mr.  Cooper  made  his  first 
appearance  at  the  Boston  Theatre  on  the  llth  of 
March,  as  Hamlet ;  Ophelia,  Mrs.  Jones ;  Queen,  Mrs. 
Powell.  The  theatre  was  crowded,  and  it  was  the 
general  opinion  that  the  histrionic  powers  of  "our 
Roscius,"  as  he  was  termed,  America  having  been  the 
scene  of  his  earliest  success,  were  much  improved  and 
ripened  by  his  transatlantic  excursion.  The  benefits 
this  season  were  very  large,  and  the  following  state 
ment  of  receipts  will  sufficiently  evince  the  praise 
worthy  manner  in  which  the  Bostonians  then  supported 
those  who  contributed  to  their  amusement  and  instruc 
tion:  Snelling  Powell,  $1,100;  Bernard,  $1,050; 
Fox,  $900;  Wilson,  900;  Chalmers,  $800;  Dickson 
1,050 ;  Jones,  $850  ;  Bignall,  $700 ;  Sauberes,  $750 ; 
Kenny,  $800 ;  Cooper,  1,050 ;  Barnes,  $700 ;  Mrs. 
Powell,  $1,163;  Mrs.  Dickson,  $850;  Mrs.  Bernard, 
$750 ;  Mrs.  Jones,  $950 ;  Miss  Bates,  $700.  The 
above  were  eighteen  successive  benefits.  The  theatre 
was  calculated  to  contain,  by  admeasurement,  eleven 
hundred  dollars,  though  on  some  occasions  the  receipts 
had  been  as  high  $1,400. 

Cooper's  visit,  however,  to  England  had  not  resulted 
in  that  triumph  which  was  anticipated.  At  the  time, 
(1803,)  Kemble  had  retired  from  Drury  Lane  Theatre, 
on  account  of  declining  health,  and  was-  on  a  tour  to 
the  continent  of  Europe,  and  Cooper  was  invited  to  fill 
his  place.  His  performances  were  received  with  much 
applause,  but  the  people  there  having  formed  their 


RECORD    OF   THE   BOSTON    STAGE.  85 

taste  on  the  model  of  Cooke  and  Kemble,  or  from  his 
real  inferiority  to  these  gentlemen,  did  not  consider 
him  equal  to  their  favorites.  During  his  engagement 
in  Boston,  he  performed  Douglass,  Ricliard  III.,  Octa- 
vian  in  the  "Mountaineers,"  Pierre,  Zanga  in  the 
"  Revenge/'  Osmond,  in  the  "  Castle  Spectre,"  (a  part 
in  which  Mr.  Hodgkinson  had  been  very  successful,) 
Othello  and  Rolla  for  his  benefit.  The  Boston  critics 
were  much  pleased  with  his  "  Othello,"  "  Hamlet,"  and 
"  Zanga,"  and  he  was  then  esteemed  second  to  no  one 
who  had  trod  the  Boston  boards,  though  his  faults  were 
freely  discussed,  and  the  correctness  of  his  readings 
often  called  in  question. 

The  last  season  of  the  sole  management  of  Mr. 
Powell  commenced  in  October,  1805,  with  "  Speed  the 
Plough,"  and  the  expenses  of  the  theatre  greatly 
exceeded  any  previous  season.  On  the  15th  of  Novem 
ber  the  "  Honeymoon "  was  performed,  for  the  first 
time  in  Boston:  —  Diike  Aranza,  Cooper;  Juliana, 
Mrs.  Powell ;  —  and  during  this  season  Cooper  brought 
out  "  Coriolanus "  for  his  benefit.  The  orphans  of 
Hodgkinson  received  a  benefit  at  the  theatre,  which 
was  but  one  of  the  many  kind  acts  that  marked  Mr. 
Powell's  managerial  career. 

In  the  summer  of  1806.  Mr.  Bernard  visited  Eng 
land,  for  the  purpose  of  obtaining  accessions  to  the  Bos 
ton  Theatre.  On  his  arrival  out,  he  found  the  London 
managers  on  the  alert  to  embellish  their  respective 
theatres  with  all  the  genius  and  attraction  of  the  pro 
fession  ;  and  so  anxious  were  they,  that  they  did  not 
confine  their  researches  to  the  boards  of  England, 
Scotland,  and  Ireland,  but  offers  were  made  to  several 


86        RECORD  OF  THE  BOSTON  STAGE. 

English  actors,  then  in  America.  Mr.  Bernard  was 
not  very  successful  in  beating  up  recruits.  He,  how 
ever,  enlisted  Mr.  Caulfield  from  Drury  Lane,  Mrs. 
Stanley,  (Hon.  Mrs.  Twistleton,)  from  Covent  Garden, 
Signor  Cipriani,  ballet  master,  from  Saddler's  Wells, 
and  a  singer  by  the  name  of  Vining,  with  whom  he  set 
sail  for  Boston  in  the  schooner  Neutrality,  Capt.  Sprague, 
of  Duxbury.  The  theatre  was  announced  to  open  on 
the  13th  of  October,  under  the  joint  management  of 
Powell,  Bernard,  and  Dickson,  and  as  intelligence  had 
been  received  of  Mr.  Bernard's  departure  from  Bristol, 
he  was  anxiously  expected  to  give  eclat,  with  the  aid  of 
the  new  faces,  to  the  opening  of  the  house.  But  his  part 
ners  were  doomed  to  disappointment,  for  the  schooner 
Neutrality  did  not  come  to  port,  and  on  the  13th  of  Octo 
ber  the  season  commenced  with  "  Speed  the  Plough." 
Mr.  and  Mrs.  Poe,  (parents  of  Edgar  A.  Poe,  the  poet,) 
from  the  South,  made  their  appearance,  and  Master 
Loring  made  his  debut  as  Richard  to  a  cash  receipt  of 
$855.87  1-2.  Nearly  two  weeks  was  passed  by  the 
friends  of  Mr.  Bernard,  in  fear  lest  the  schooner  might 
have  been  swamped  or  foundered ;  but,  on  the  25th  of 
October,  the  Neutrality,  after  a  passage  of  fifty-three 
days,  arrived,  and  on  the  the  27th,  Mr.  Bernard  ap 
peared  as  Nipperkin,  when  he  was  most  warmly 
welcomed.  -Mrs.  Stanley  was  a  lady -like  actress,  and 
gave  great  satisfaction.  She  was  Hon.  Mrs.  Twistle 
ton.  Mr.  Caulfield  appeared  as  Sir  Edward  Morti 
mer,  and  was  pronounced  a  classical  performer. 

Caulfield  was  quite  a  wit  at  times.  Over  each  of 
the  stage  doors  at  the  theatre  were  placed  the  initials, 
S.  P.  Q.  A.  (Senatus  Populus,  &c.).  An  actor,  look- 


RECORD    OF   THE   BOSTON    STAGE.  87 

ing  up  one  day,  endeavored  to  arrive  at  some  clue  to 
their  meaning,  but  being  unable  to  do  so,  he  turned  to 
Caulfield,  and  asked  for  his  version.  "  Oh,"  said 
Caulfield,  glancing  at  what  he  had  perhaps  never 
noticed  before,  "  do  n't  you  know  what  they  stand  for  ?  " 
"  No,  I  do  not,"  rejoined  the  applicant.  "  Well,"  said 
Caulfield,  "  S.  P.  Q.  A.  means  that  Snelling  Powell 
Quizzes,  All." 

We  have  alluded  in  this  record  to  the  Columbian 
Museum,  which  was  commenced  in  Boston  by  the  exhi 
bition  of  a  few  specimens  of  waxwork,  at  the  American 
Coffee  House,  opposite  the  Bunch-of-Grapes,  in  State 
street.  The  proprietor  was  Mr.  Daniel  Bo  wen,  whose 
collection  received  very  handsome  notice  in  the  papers 
of  June,  1791.  It  was  soon  removed  to  the  hall  over 
the  new  school-house,  near  the  Rev.  Mr.  West's  meet 
ing.  Additions  of  natural  and  artificial  curiosities, 
paintings,  &c.,  were  constantly  made  to  the  collection 
till  1795,  when  it  assumed  the  name  of  Columbian 
Museum,  and  it  was  established  at  the  head  of  the  mall, 
(on  the  corner  of  Broomfield's  Lane,)  in  the  longest, 
and  perhaps  the  most  elegant  hall  in  the  United  States. 
This  establishment  rose  in  value  and  in  public  estima 
tion,  and  became  a  fashionable  resort,  till  January  15, 
1803,  when  it  was  destroyed  by  fire.  The  liberality  of 
the  public,  and  the  aid  of  private  friends,  enabled  Mr. 
Bowen  to  commence  another  Museum,  at  the  corner  of" 
Milk  and  Oliver  streets,  in  the  succeeding  May.  In 
1806,  Mr.  Bowen,  in  connection  with  Mr.  William  M.. 
S.  Doyle,  erected  a  costly  brick  edifice,  five  stories 
high,  on  the  lot  north  of  the  Chapel  burial-ground 
and  removed  the  collection,  which  had  now  become' 


88  RECORD    OF    THE   BOSTON    STAGE. 

splendid,  to  that  place,  which  was  opened  for  company 
on  Thanksgiving  evening,  Nov.  27th.  On  the  loth  of 
January,  1807,  the  Museum  again  took  fire,  from  the 
explosion  of  a  preparation  which  Mr.  Martin  used  in 
his  exhibition  of  the  Phantasmagoria,  then  occupying 
the  upper  hall,  and  all  the  valuable  curiosities  were 
destroyed.  After  the  fire  had  subsided,  a  very  melan 
choly  catastrophe  occurred.  A  great  part  of  the  south 
wall  of  the  Museum  fell  into  the  Chapel  burying- 
ground,  killing  six  young  men  and  wounding  several 
others.  The  proprietors  of  the  Museum,  however, 
were  not  wholly  disheartened.  With  some  encourage 
ment  from  the  public,  they  rebuilt  the  house  to  the 
height  of  two  stories,  and  opened  it  on  the  2d  of  June, 
1807.  Mr.  Bowen  some  time  after  removed  from  Bos 
ton,  and  Mr.  Doyle  continued  the  sole  manager  until 
the  collection  was  sold  to  the  proprietors  of  the  New 
England  Museum,  (January  1,  1825). 


CHAPTER    VI. 

3Ir.  James  Fennell.  — Mr.  C.  S.  Powell.  —  Benefit  for  the  Lunatic 
Asylum.  —  Eeadings  from  Shakspeare.  —  Mr.  Webster.  —  Mr. 
Twaits.  —  Appearance  of  the  celebrated  Mrs.  Warren  (Miss 
TBrunton).  —  Biographical  Sketch.  — Mr.  Cooper.  —  Harwood.  —  A 
.Joint  Engagement.  —  Criticisms  of  Eobert  Treat  Paine.  —  Remarks 
supon  Mr.  Cooper  and  Mr.  Fennell's  Acting.  — A  touch  at  pseudo- 
critics. —  The  Embargo,  etc.,  etc. 

THE   season  of   180 G-7,  is   notable   on   account  of 
ithe  appearance  of  Mr.  Fennell,  who,  when  he  arrived 


RECORD    OF    THE    BOSTON    STAGE.  89 

in  Boston,  held  just  concluded  an  engagement  of  thirteen 
nights  in  Philadelphia,  where  the  receipts  had  been 
$13,000,  then  pronounced  to  be  "the  greatest  instance 
of  patronage  ever  given  to  the  American  Drama." 
FennelPs  engagement  was  not  a  successful  one.  His 
performance  of  Lear  was  the  only  attractive  part 
which  the  Bostonians  honored. 

Mr.  C.  S.  Powell,  the  former  manager  of  the  Hay- 
market,  appeared  this  season.  For  many  years  he 
was  connected  with  theatricals  in  Halifax,  under  the 
patronage  of  the  Duke  of  Kent.  Mr.  Powell  died  in 
Halifax  in  1810. 

A  night  was  devoted  by  the  trustees,  to  a  benefit  to 
assist  the  fund  then  raising  in  behalf  of  a  lunatic  hos 
pital.  The  benefit  was  an  entire  failure ;  the  project 
at  that  time  being  viewed  with  an  unfavorable  eye  by 
the  public.  The  trustees  of  the  old  theatre  always 
reserved  one  night,  the  receipts  of  which  were  given 
to  the  poor  of  the  town. 

After  the  close  of  the  season,  Fennell  gave  readings 
from  Shakspeare,  with  remarks,  at  the  Exchange  Coffee 
House  —  the  first  Shaksperian  readings  in  this  city, 
since  so  popular,  of  which  we  find  record. 

The  season  of  1807-8  introduced  to  the  public 
Mr.  Webster,  a  singer  of  considerable  repute,  who, 
unfortunately  for  his  fame  and  his  pocket,  subsequently 
became  a  party  to  some  disgraceful  proceedings,  and 
was  obliged  to  take  French  leave  of  Boston.  Mr. 
Twaits,  who  married  Mrs.  Villiers,  formerly  Miss 
Eliza  Westray,  appeared.  He  was  born  on  the  25th 
of  April,  1781,  and  was  brought  to  this  country  by 
Mr.  Wood,  who  found  him  in  Birmingham,  England. 


90        RECORD  OF  THE  BOSTON  STAGE. 

Dunlap  says  that  "  neither  his  style  of  playing,  nor  his 
face  or  person  was  like  any  other  individual  then  on 
or  off  the  stage.  Short  and  thin,  yet  appearing  broad, 
muscular  yet  meagre,  a  large  head,  with  stiff,  stubborn 
carroty  hair,  long  colorless  face,  prominent  hooked  nose, 
projecting  large  hazel  eyes,  thin  lips,  and  large  mouth, 
which  could  be  twisted  into  a  variety  of  expression, 
and  which  combining  with  his  other  features,  eminently 
served  the  purpose  of  the  comic  muse."  His  voice  was 
powerful,  and  his  queer  humor,  made  him  a  great  favor 
ite  with  convivialists,  as  with  lovers  of  comedy.  Mr. 
Twaits  was  extremely  popular  as  a  low  comedian,  but 
like  many  others  in  that  line,  fancied  that  tragedy  was 
his  forte.  He  attempted  Lear  and  Richard  III.,  and 
performed  them  beyond  the  expectation  of  the  audience. 
It  has  been  said,  and  with  much  truth,  that  actors  are 
the  poorest  judges  of  their  own  talent.  The  celebra 
ted  Listen  acted  Octavian,  and  similar  characters  at 
Newcastle  before  he  appeared  in  London,  where  he 
became  the  most  popular  low  comedy-man  of  the  day. 
Mr.  Finn  was  also  impressed  that  tragedy  was  his  line ; 
but  of  this  more  in  the  appropriate  place.  Mr.  Twaits 
was  manager  of  the  Richmond  theatre  at  the  time  of  the 
great  fire. 

On  the  20th  of  November,  1807,  Mrs.  Warren,  cele 
brated  in  theatrical  annals  as  Miss  Brunton,  made  her 
first  appearance  in  this  city  as  Belvidera.  Mrs.  War 
ren's  fame  and  superior  talent  were  not  generally 
known  here,  and  there  being  no  actor  of  eminence  to 
support  her,  the  first  night  was  but  indifferent,  under 
the  circumstances.  The  frequenters  of  the  theatre  soon 
sounded  her  praises,  and  her  acting  became  known  and 


RECORD    OF   THE   BOSTON    STAGE.  91 

duly  appreciated  by  the  public.  On  Monday,  Nov. 
30th,  she  performed  Elvira  in  "  Pizarro  "  to  a  large 
and  fashionable  audience.  Mr.  Fennell  was  engaged 
for  her  next  two  nights,  and  appeared  as  Horatio  to  her 
Calista  in  the  "  Fair  Penitent, "  and  as  Romeo  to  Mrs. 
"Warren's  Juliet,  (her  great  London  part,)  and  on  both 
of  these  occasions  the  theatre  was  crowded.  She 
played  seven  nights,  and  with  her  benefit  received  one 
thousand  six  hundred  dollars.  Miss  Brunton  was  the 
daughter  of  John  Brunton,  a  manager  and  actor,  who 
maintained  a  respectable  rank  in  England.  It  was  not 
until  she  had  attained  her  fifteenth  year  that  she  gave 
any  evidence  of  the  possession  of  histrionic  genius,  her 
earlier  days  having  been  passed  in  the  repose  of  retired 
life,  far  from  the  scenes  of  her  father's  labors ;  her 
mother,  contenting  herself  with  qualifying  her  daugh 
ter  to  be  like  herself,  a  good  wife  and  mother.  Mrs. 
Brunton  was  the  preceptress  of  her  own  children,  and 
the  father  was  more  than  astonished,  when  one  day, 
by  desire  of  her  mother,  the  daughter  recited  some 
select  passages  in  his  presence.  Though  not  gifted 
with  that  dignity  of  stature  suited  to  the  embodiment 
of  tragic  parts,  the  father,  who  had  battled  hard  to 
obtain  the  means  of  subsistence  for  his  family,  saw  that 
a  mine  of  wealth  had  long  been  concealed  in  his  own 
family,  under  modesty  and  reserve,  and  at  once  deter 
mined  to  encourage  the  talent  which  had  lain  dormant, 
and  bring  his  daughter  before  the  public.  "Without 
any  stage  practice,  without  the  advantage  of  studying 
in  other  actresses  what  to  do  or  what  to  avoid,  having 
very  rarely  seen  the  interior  of  the  theatre,  she  was 
announced,  while  she  yet  fell  short  by  two  months  of 


92  RECOED    OF    THE    BOSTON    STAGE. 

sixteen  years  of  age,  to  appear  at  her  father's  benefit 
in  Bath  as  Euphrasia.  Mr.  Meyler  wrote  a  prologue 
for  the  occasion,  and  some  kind  friends  were  evil  dis 
posed  enough  to  predict  the  failure  of  the  young  lady, 
stating  that  her  youth  and  smallness  of  stature  were 
insurmountable  obstacles  to  her  personating  the  Gre 
cian  daughter.  The  night  arrived.  More  hearts  than 
one  trembled  for  the  result,  and  the  anxiety  of  the 
parent  exceeded  the  fear  of  the  debutante.  Though 
the  trepidation  inseparable  from  such  an  effort  dimin 
ished  her  powers  at  first,  the  sweetness  of  her  voice 
struck  every  ear  like  a  charm ;  the  applause  that  fol 
lowed  invigorated  her  spirits  so  far,  that  in  the  recipro 
cation  of  a  speech  or  two  more,  her  fine,  clear  articu 
lation  struck  the  audience  with  surprise,  and  when  more 
assured  by  their  loud  approbation,  she  came  to  the 
speech :  — 

"  Melanthon,  how  I  loved,  the  gods  who  saw 
Each  secret  image  that  my  fancy  formed,  etc." 

she  seemed  to  pour  forth  her  whole  heart  and  soul  in 
the  words,  and  emitted  such  a  blaze  as  filled  the  house 
with  rapture  and  astonishment.  Brunton  on  the  same 
evening  played  the  aged  father,  and  the  meeting  on  the 
boards  of  father  and  child  was  the  signal  for  applause, 
only  equalled  in  modern  times  by  the  parallel  cases 
of  Kemble  and  his  daughter,  and  Cooper  and  his 
daughter.  Miss  Brunton  rose  at  once  in  public  esti 
mation,  and  augmented  her  reputation  by  performing 
Horatia  in  the  "  Roman  Father, "  and  Palmyra  in 
"  Mahomet, "  and  in  less  than  a  month  the  fame  of  this 
prodigy  reached  every  town  and  city  of  Great  Britain 
and  Ireland.  The  London  managers  were  at  once  on 


RECORD    OF    THE    BOSTON    STAGE.  93 

« 

the  qui  vive  for  such  a  star;  and  on  the  17th  of  Oct., 
1785,  Miss  Brunton  made  her  first  appearance  at  Co- 
vent  Garden  Theatre  in  the  character  of  Horatia.  The 
London  critics  stamped  the  coin  as  pure  metal,  and  her 
success  was  immense.  Whenever  her  name  was  an 
nounced,  a  crowded  house  was  in  attendance,  and  great 
was  the  regret  of  all,  when  it  was  announced  that  she 
was  about  to  marry  Mr.  Robert  Merry,  a  gentleman  of 
literary  attainments,  and  would  retire  from  the  stage. 
This  step  was  taken,  not  in  accordance  with  her  own 
desires,  for  she  was  an  actress  con  amore,  but  to  pro 
pitiate  the  favor  of  Mr.  Merry's  family,  who  affected 
to  be  wounded  at  his  marrying  an  actress.  At  the  con 
clusion  of  her  engagement  in  1792,  she  was  married  to 
Mr.  Merry,  and  left  for  Paris,  where,  with  Mr.  Fennell, 
it  was  their  intention  to  give  English  readings,  as  M. 
Le  Texier  had  been  very  successful  in  giving  French 
readings  in  London.  The  convulsions  in  France  pre 
vented  the  execution  of  this  plan;  and  after  a  three 
months'  visit  they  returned  to  England,  and  lived  in 
retirement  until  179  G,  when  Merry,  who  was  a  bon 
vivant,  found  that  his  reduced  fortunes  required  imme 
diate  aid  ;  and  Mrs.  Merry  most  willingly  accepted  an 
engagement  with  Wignell  for  Philadelphia,  and  sailed 
for  New  York,  which  they  reached,  in  twenty-one  days' 
passage,  on  the  19th  of  October,  179 G.  In  the  same 
vessel,  Thomas  A.  Cooper  and  Mr.  William  Warren 
came  passengers.  Mrs.  Merry  made  her  first  appear 
ance  in  America  in  Philadelphia,  on  the  5th  of  Decem 
ber,  179 G,  as  Juliet;  Moreton  being  her  Romeo.  Her 
talent  was  appreciated  in  this  country,  and  in  the  large 
cities  she  became  the  favorite  of  the  day.  Mr.  Merry 


94:  RECORD    OF    THE    BOSTON    STAGE. 

died  at  Baltimore  in  1798.  Mrs.  Merry  remained  a 
widow  till  1803,  when  she  married  Mr.  Wignell,  who 
died  in  seven  weeks  after  their  marriage.  On  the  15th 
of  August,  1806,  she  married  Mr.  William  Warren, 
her  fellow  passenger  on  her  outward  passage,  and  for 
near  two  years  they  lived  together  in  ease  and  felicity. 
Mr.  Warren  being  obliged  to  attend  his  company  to 
their  customary  summer  stations,  prepared  for  his  de 
parture,  and  at  her  earnest  solicitation,  though  she  was 
daily  expecting  her  accouchement,  took  his  wife  with 
him.  They  reached  Alexandria,  and  she  was  there 
taken  in  travail ;  and  though  appearances  and  her  lusty 
health  promised  a  safe  deliverance,  she  was  seized  with 
epileptic  fits  and  died.  Dunlap  in  his  history,  in  record 
ing  her  death,  says :  "  The  year  1808  was  rendered  re 
markable  in  theatrical  history,  wherever  the  English 
language  is  spoken,  by  the  death  of  Mrs.  Anne  Warren, 
in  the  thirty-eighth  year  of  her  age,  and  in  the  full  pos 
session  of  all  those  eminent  qualifications  which  ren 
dered  her,  as  a  tragedian,  only  second  to  Mrs.  Siddons." 

On  the  25th  of  January,  1808,  Mr.  Cooper  appeared 
as  Richard  III.,  and  followed  in  Hamlet,  etc.  Har- 
wood  appeared  each  night  in  the  afterpiece.  This  was 
the  first  season  that  Cooper  may  be  said  to  have  failed ; 
and  notwithstanding  he  had  the  aid  of  Harwood,  who 
was  an  excellent  comedian,  he  did  not  attract.  The 
result  was  that  an  engagement  was  made  with  Fennell ; 
and  they  acted  Jaffier  and  Pierre,  Othello  and  lago, 
Horatio  and  Lothario  in  the  "  Fair  Penitent." 

This  joint  engagement  was  one  of  the  most  exciting 
on  record,  and  created  the  greatest  enthusiasm  not  only 
in  this  city,  but  throughout  the  country.  Every  one 


RECORD    OF    THE    BOSTON    STAGE.  95 

was  anxious  to  hear  the  result  of  their  success.  The 
tragedy  of  "  Venice  Preserved  "  was  brought  out ;  Joffier^ 
Fennell ;  Pierre,  Cooper ;  Belvidera,  Mrs.  Stanley. 

"  Venice  Preserved  "  was  written  by  Thomas  Otway, 
who  was  born  in  1651.  It  was  first  acted  in  1G8 2.  Few, 
perhaps,  while  witnessing  the  performance  of  this  play, — 
moved  to  sympathy  by  the  sufferings  of  Belvidera,  or 
touched  with  pity  by  the  sensitive  and  affectionate  nature 
of  Jaffier, — reflect  upon  the  fate  of  its  author,  who  died 
»in  1G85,  it  being  stated,  that  the  immediate  cause  of 
his  death  was  hastily  swallowing,  after  a  long  fast,  a 
piece  of  bread  which  charity  had  supplied :  — 

"  0  glorious  trade !  for  wit's  a  trade, 
Where  men  are  ruined  more  than  made ! 
Let  crazy  Lee,  neglected  Gay, 
The  shabby  Otway,  Dryden  gray, 
Those  tuneful  servants  of  the  Nine, 
(Not  that  I  blend  their  names  with  mine,) 
Repeat  their  lives,  their  works,  their  fame, 
And  teach  the  world  some  useful  shame." 

Robert  Treat  Paine,  then  the  theatrical  critic  of  Bos 
ton,  thus  alludes  to  this  engagement.  In  an  article 
upon  "  Venice  Preserved,"  he  says :  — 

"  Messrs.  Cooper  and  Fennell  were  the  rival  candidates  for  the 
wreath  of  Thespian  victory ;  and  the  combined  effect  of  their  talents 
was  very  powerfully  assisted  by  the  Bdridera  of  Mrs.  Stanley.  In 
this,  as  in  all  contentions  of  a  similar  nature,  the  spirit  of  party  was 
on  the  alert ;  a  divided  sentiment  prevailed,  which  was  wholly  repug 
nant  to  impartiality  of  judgment.  *  *  *  In  the  natural  gifts  and 
requisites  of  an  actor,  Mr.  Cooper  has  never  had  a  competitor  on  the 
American  stage,  and  in  good  sooth,  it  must  be  said,  that  '  speech 
famed '  Fennell  has  gathered  much  lore  at  the  feet  of  Cratippus. 
Mr.  Fennell,  who  prides  himself  on  his  scholastic  '  vis  et  venustas  et 
ordo  verboruin,'  acquired  on  this  occasion  no  distinction  beyond  his 
antagonist  in  the  severer  graces  of  eloquence;  although,  in  some 


96  RECORD    OF    THE    BOSTON    STAGE. 

brilliant  moments  of  personation,  he  -went  beyond  any  former  effort 
of  his  own.  We  feel  a  reluctance  to  speak  of  Mr.  Cooper's  Pierre 
in  contrast  to  Mr.  FennelPs  Jaffier  from  this  very  sufficient  reason, 
that,  in  this  disposition  of  the  parts,  nature  has  pronounced  her  in 
hibition  against  the  one,  and  has  given  her  amplest  commission  to 
the  other.  Every  actor  has  peculiar  habitudes  of  gesticulation,  speech, 
and  expression ;  in  all  these,  Cooper  is  moulded  and  fashioned  into 
Pierre ;  and  beyond  these,  which  are  great  and  striking  endowments, 
he  is  eminently  happy  in  transfusing  the  soul  of  his  author  into  the 
character  of  his  action.  We  do  not  believe  this  bold,  ingenuous, 
generous,  affectionate  rebel,  was  ever  personated  with  more  propriety, 
fire,  or  discrimination,  on  the  boards  of  London.  In  the  scene  with 
conspirators,  after  the  discovery  of  Renault's  lecherous  breach  of 
trust,  it  may  be  truly  said,  he 

'  Lurched  all  swords  of  the  garlands.'  " 

The  same  critic,  alluding  to  Fennell's  and  Cooper's 
impersonation  of  lago,  says: — 

"  In  the  part  of  lago  our  unequivocal  preference  went  along  with. 
Mr.  Cooper,  per  totum  agmcn.  In  correctness,  or  force  of  reading, 
we  scarcely  know  to  whom  the  balance  would  incline.  But  one  or 
two  diversities  of  emphasis  occurred,  and  none  of  interpretation. 
The  differences  were  immaterial,  and  only  such  as  the  incidental 
lapses  of  performance  might  occasion.  For  the  distinctions  were  all 
of  manner  in  the  personation  of  character,  in  its  varieties  of  address 
to  the  other  persons  of  the  drama,  -with  whom  it  was  necessarily  in 
termingled.  Here,  indeed,  the  merit  of  the  representation  belongs 
most  eminently  to  Mr.  Cooper.  In  the  conduct  of  the  scenes  his 
subtle  honesty  to  Othello,  his  imposing  assurance  to  lioderigo,  and  his 
deadly  malignity  in  soliloquy,  were  more  deeply  imbued  with  discrim- 
ation,  '  form  and  pressure.'  The  colors  were  applied  with  a  bolder 
pencil,  and  the  lines  were  traced  with  a  stronger  character.  Nature 
has  denied  to  Mr.  Fennel!  the  use  of  such  powerful  means,  as  Mr. 
Cooper  can  employ  prodigally,  without  exhausting  them.  In  the 
economy  of  the  stage  art  and  situation,  Mr.  Cooper  was  wonderfully 
superior.  Yet,  if  we  drop  the  curtain,  and  consider  the  exhibition  as 
a  mere  didactic  example  of  recitation,  Mr.  Fennell  does  not  halt 
behind  his  antagonist." 

In  the   course  of  our  reading,  we  have  never  met 


RECORD    OF   THE   BOSTON    STAGE.  97 

with  criticisms  upon  theatricals  more  in  accordance 
with  good  taste  than  those  from  the  pen  of  Mr.  Paine. 
He  wrote  according  to  his  honest  convictions,  and  we 
learn,  from  private  sources  of  information,  that  he 
knew  not  "  a  Tyrian  from  a  Trojan,"  when  in  the  exer 
cise  of  this  duty.  He  possessed  a  great  love  for  the 
drama,  could  apply  the  rod  with  scorching  effect,  or 
bestow  the  meed  of  praise  when  due,  without  disgust 
ing  the  recipient  by  a  lavish  profusion  of  unmerited 
eulogium. 

The  following  passage  may  be  read  with  profit  even 
in  these  enlightened  days.  It  hits  off  a  class,  who, 
lacking  critical  acumen,  are  ever  ready  to  ascribe 
personal  motives  or  private  pique  to  that  person  who 
independently  expresses  an  unbiased  opinion,  which  may 
not  accord  with  their  own  :  — 

"  Mr.  Cooper  could  not  swell  his  fine  melodious  voice  to  the  '  top 
of  its  compass '  without  a  responsive  thunder  from  the  house ;  nor 
could  Mr.  Fennell  extend  his  '  many  a  rood  of  limb '  in  two  gigantic 
strides  from  one  stage  door  to  the  other,  but  the  most  learned  '  mil 
lion'  beat  their  palms  with  ecstasy  and  exclaimed:  '  What  an 
admirable  READER.'  We  have  not  indulged  this  vein  of  sarcasm  to 
ridicule  the  exertion  of  eminent  talents,  which  has  so  justly  '  earned 
its  chronicle,'  but  to  expose  to  merited  contempt  that  fashionable 
affection,  that  most  excellent  foppery  of  taste,  which  has  of  late 
usurped  the  balance  and  the  rod  of  criticism  among  our  full  grown 
babes  of  learning,  who  have  suddenly  become  commentators  in 
playing,  by  going  to  school  at  thirty  to  learn  their  mother  tongue, 
and  have  formed  an  intimate  acquaintance  with  authors,  by  spelling 
their  names  on  labels  at  the  backs  of  their  volumes !  Without  know 
ing  the  distinction  in  terms  between  pronunciation,  emphasis,  and 
reflection,  yet  with  the  aid  of  a  little  effrontery  in  a  side  box,  and  a 
well-committed  rosary  of  words,  which  they  use  in  succession  with 
out  choice  or  connection,  they  acquire  a  frothy  reputation  for  classi 
cal  wisdom,  which  at  once  gives  tone  and  circulation  to  their  opinions, 
throughout  the  wide  range  of  the  shallow  profundity  of  polite  life ! 
7 


98  RECORD    OF   THE   BOSTON    STAGE. 

What  a  facility  of  literary  education!  Why,  it  were  a  device  worth 
the  experiment,  if  a  patent  might  be  obtained  for  it;  the  market 
women  in  the  public  streets  of  Athens  repeated  lines  from  Homer, 
while  they  sold  apples  and  filberts ;  then  wherefore  should  not  the 
disciple  of  a  tailor  and  a  frizeur  make  as  good  a  commentator  of  a 
beau,  as  the  perusal  of  Malone,  Johnson,  or  Walker  ?  The  process, 
too,  would  prevent  a  great  many  fruitless  headaches,  would  keep 
down  the  price  of  calfskin,  and  would  save  the  expense  and  trouble 
of  learning  to  read.  What  a  crop  of  connoisseurs  should  we  have ; 
they  would  grow  up,  like  the  dragon's  teeth,  and  destroy  themselves 
for  the  amusement  of  their  wits.!  This,  then,  will  be  the  very  mil 
lennium  of  letters,  when  taste  shall  be  reduced  under  the  dominion  of 
i  fashion,  and 

'  The  fop,  the  flirt,  ihe  pedant,  and  the  dunce 
Start  up,  (God  bless  MS  !)  critics  all  at  once.'  " 

'Owing  to  the  embargo,  this  was  one  of  the  most  un 
productive  seasons  the  theatre  ever  experienced,  but 
the  actors  never  left  on  a  Saturday  without  receiving 
their  full  due. 

We  have  alluded  to  Mr.  James  Fennell.  He  came 
over  to  this  country  during  the  year  1792.  His 
reputation  as  an  actor  was  not  fully  known  on  this  side 
of  the  Atlantic ;  as  a  rattle-brain  spendthrift,  he  was 
very  much  better  known.  In  the  early  part  of  his 
life,  Fennell  studied  the  law,  but  he  soon  spurned  the 
intricacy  of  the  path,  and  under  the  name  of  Cambray, 
offered  himself  to  the  managers  of  the  Edinburgh 
Theatre,  and  in  1787  made  his  first  appearance  as 
Othello.  Until  the  day  of  his  death,  this  was  his 
favorite  character.  Under  the  assumed  name  of  Cam- 
bray,  he  played  with  some  success  in  the  various 
provincial  cities.  The  increasing  fame  of  Mr.  Fennell 
induced  the  managers  of  the  Edinburgh  Theatre  to 
wish  his  return  to  their  stage,  where  he  proceeded  and 
played  there  some  time  with  approbation,  till  one  even- 


RECORD    OF   THE   BOSTON    STAGE.  99 

ing,  being  announced  to  perform  the  character  of 
Jaffier,  and  the  gentleman  who  had  formerly  repre 
sented  it  (Mr.  Wood)  was  fixed  for  Pierre;  but  enraged 
at  the  exchange,  though  the  characters  have  ever  been 
deemed  equally  good,  Mr.  Wood  complained  of  the 
injustice  of  the  manager  to  his  friends.  An  apology 
was  demanded  from  the  manager,  and  a  law  case 
ensued.  Mr.  Fennell  quitted  the  stage  in  that  city 
with  indignation,  and  played  a  short  time  at  York,  and 
in  1789,  appeared  at  Covent  Garden,  London,  but  with 
out  the  expected  success.  He  afterwards  engaged  in  a 
periodical  publication,  the  Theatrical  Guardian,  and  pro 
duced  a  comedy,  entitled  "  Lindel  and  Clara,  or  a  Trip 
to  Gibraltar,"  which  has  been  frequently  performed, 
and  was  printed  in  1791.  He  visited  Paris,  where  he 
lived  like  "  my  lord  Anglais,"  and  supported  a  hotel 
in  great  style,  at  the  expense  of  all  who  trusted  to  his 
specious  manner  and  fine  appearance.  Fennell  was  a 
remarkably  handsome  figure,  above  six  feet  in  height ; 
his  features,  not  handsome,  were  expressive,  and  over 
which  he  had  a  wonderful  command.  Thomas  A. 
Cooper,  the  tragedian,  used  to  say,  when  perceiving 
Fennell's  approach,  "  Here  come  two  yards  of  a  very 
proper  man"  In  Philadelphia  his  style  of  living  was 
extravagant.  He  was  the  idol  for  the  time  of  the 
town,  the  companion  of  all  the  dissipated  limbs  of 
aristocracy,  who  have  caused  the  ruin  of  more  actors 
by  their  flattery  and  friendship  (?)  than  they  ever  con 
tributed  dollars  to  the  treasury  of  all  the  theatres  in 
the  United  States.  He  performed  in  all  the  theatres  in 
this  country,  and  possessing  great  ingenuity,  erected 
salt  works  on  a  new  model  of  his  own,  which  failed 


100  RECORD    OF   THE   BOSTON   STAGE. 

him.  In  the  year  1800,  he  was  oppressed  by  poverty 
and  debt,  and  in  1802  he  was  imprisoned  for  debt,  etc. 
At  last  he  became  so  reduced  and  besotted  that  a  Mrs. 
Brown,  in  Philadelphia,  with  whom  he  resided,  was 
under  the  necessity  of  turning  him  out  of  the  house. 
For  several  days  nothing  was  heard  of  him.  One  night, 
after  she  had<retired  to  rest,  she  awoke  by  a  noise  in 
the  street ;  raising  the  window  to  ascertain  the  cause, 
she  was  answered  by  Fennell  begging  admission : 

"  You  cannot  come  in  here,  Mr.  Fennell,  indeed  you 
cannot." 

"I  am  a  wanderer,  madam,  an  outcast,  homeless, 
pennyless." 

"  I  cannot  help  you,  Mr.  Fennell ;  you  know  how 
you  behaved  before." 

"  I  remember  nothing,  Mrs.  Brown,  but  that  I  am 
wretched,  sick,  and  helpless." 

"All  this  I  admit,  Mr.  Fennell,  but  why  not  go 
somewhere  else?" 

"  I  have  no  friend  but  you  ;  then  do  — 

'Pity  the  sorrows  of  a  poor  old  man 
Whose  trembling  limbs  have  borne  him  to  your  door, 
Whose  days  are  dwindled  to  the  shortest  span, 
Oh!  give  relief  and  heaven  will  bless  your  store.'  " 

This  appeal  induced  the  old  woman  to  throw  out  the 
latch  string. 

Mr.  Fennell,  when  the  decay  of  fortune  and  conse 
quent  shyness  of  professed  friends  had  reduced  him  to  a 
summer  suit  in  the  midst  of  winter,  was  presented  by 
Mr.  Leigh  Waring  with  a  surtout.  The  tragedian 
instantly  produced  the  following  neat  effervescence  of 
genius  and  gratitude :  — 


RECORD    OF    THE    BOSTON    STAGE.  101 

* 

"  Dear  Sir,  your  surtout 

Is  a  present  to  suit, 
While  fortune  to  me  is  so  sparing, 

It's  been  worn  it  is  true 

But  your  kindness  makes  new 
What  can  ne'er  lose  its  value  from  Waring?' 

About  the  year  1804,  Mr.  Fennell  retired  for  a  time 
from  the  stage,  and  established  salt  works  on  an  original 
plan,  near  New  London,  Connecticut,  which  eventually 
ruined  him.  Mr.  Fennell  was  a  gentleman  of  fine 
classical  attainments,  and  at  one  time  kept  an  Academy 
at  the  Barrell  House,  Charlestown.  Mr.  Fennell 
wrote  a  work  entitled  "  An  Apology  for  my  Life." 


CHAPTER  VII. 

John  Howard  Payne.  — Mr.  and  Mrs.  Parley.  — Mr.  and  Mrs. 
Claude.— William  Charles  White.  — First  Production  of  Forty 
Thieves.  —  Mr.  and  Mrs.  Duff.  —  Mr.  and  Mrs.  Samuel  Drake. — 
Anecdote  of  Morse.  —  George  Frederick  Cook's  First  Appearance 
in  Boston.  —  A  Biographical  Sketch.  —  His  Last  Appearance  on 
any  Stage  at  Providence,  etc.,  etc. 

ON  the  3d  of  April,  1809,  John  Howard  Payne, 
then  only  seventeen  years  of  age,  made  his  first  appear 
ance  at  the  Boston  Theatre  in  the  part  of  Young  Nor- 
val,  and  was  justly  considered  a  histrionic  wonder. 
Though  not  a  finished  artist  he  possessed  a  vivid  genius, 
and  his  readings  united  classical  correctness  to  truth  of 
feeling.  During  this  engagement  he  appeared  as  Borneo, 


102  RECORD    OF    THE    BOSTON    STAGE. 

• 

Selim,  Tancrede,  Hamlet,  etc.,  in  all  of  which  he  was 
not  only  considered  excellent,  but  the  terin  included 
excellence  as  an  actor,  not  as  a  mere  boy.  His  first 
appearance  attracted  an  audience  of  $745.62,  and  at  his 
benefit  when  he  played  Hamlet,  there  was  $987.37  in. 
He  received  for  six  nights  $800. 

Master  Payne  was  born  in  New  York,  on  the  9th  of 
June,  1792,  and  his  parents  removed  to  this  city  when 
he  was  quite  young.  It  was  here  that  he  acquired  a 
taste  for  theatrical  representation,  and  early  in  life  at 
private  theatricals  was  the  star  par  eminence.  When 
thirteen  years  of  age,  he  was  sent  to  New  York  and 
placed  in  a  counting-house ;  but  the  dry  details  of  busi 
ness  were  unsuited  to  his  temperament,  which  soon 
found  an  appropriate  sphere  of  action  in  publishing  a 
weekly  paper,  called  the  Thespian  Mirror.  It  was  a 
respectable,  though  crude  attempt  of  the  future  author 
and  actor.  He  made  his  first  appearance  at  New 
York  on  the  26th  of  February,  1809,  and  after  visit 
ing  Boston,  made  a  tour  of  the  northern  and  southern 
theatres  with  great  success.  He  visited  England,  and 
on  the  4th  of  June,  1813,  made  his  debut  at  Drury 
Lane  Theatre,  London,  and  though  styled  the  "  Ameri 
can  Roscius,"  was  received  with  great  applause.  After 
visiting  the  English  provincial  theatres  and  Ireland,  he 
retired  from  the  stage  for  several  years,  and  devoted 
his  attention  to  literary  pursuits.  In  1826-7,  Mr. 
Paine  edited  in  London  the  Opera  Glass.  Mr.  Payne, 
during  his  early  theatrical  career  in  this  country, 
besides  the  characters  already  mentioned,  appeared 
as  Octavian,  Rolla,  Romeo,  Zaphna,  Frederick  in 
« Lovers'  Vows,"  etc.  Nature  bestowed  upon  him  a 


RECORD    OF   THE    BOSTON    STAGE.  103 

countenance  of  no  common  order,  and  though  there 
was,  when  young,  a  roundness  and  fairness,  which  but 
faintly  express  strong  turbulent  emotions,  or  display  the 
furious  passions,  these  defects  were  supplied  by  an  eye 
which  glowed  with  animation  and  intelligence.  A 
more  extraordinary  mixture  of  softness  and  intelligence 
were  never  associated  in  a  human  countenance,  and  his 
face  was  a  true  index  of  his  heart.  In  general  his 
action  was  elegant,  his  attitudes  bold  and  striking,  and 
his  most  prominent  defects  were  those  of  pronuncia 
tion.  Mr.  Payne's  contributions  to  the  stage  are 
"  Brutus,"  which  is  still  occasionally  performed.  He 
is  also  the  author  of  "The  Lancers,"  "Oswali  of 
Athens,"  "Peter  Smink,  or  Which  is  the  Miller," 
"  Proclamation,"  "  Richelieu,"  "Therese,"  "''Twas  I," 
"  King  Charles  the  Second,  or  the  Merry  Monarch," 
"  Clari,"  and  other  pieces.  Mr.  Payne's  name,  how 
ever,  will  ever  be  associated  in  the  minds  of  all  lovers 
of  melody,  with  that  simple  yet  soul  trusting  poeju, 
"  Home,  sweet  Home,"  of  which  he  is  the  author.  Mr. 
Payne  held  the  office  of  United  States  consul  at  Tunis, 
and  died  there  on  the  10th  of  April,  1852.  We  cannot 
do  the  reader  a  greater  favor  than  by  giving  the  follow 
ing  article  upon  Mr.  Payne,  which  was  contributed  to 
the  Evening  Gazette  in  May  1,  1852,  by  one  of  his 
schoolmates.  It  was  written  by  a  gentleman  of  the 
finest  literary  attainments. 

"  There  are  many  subscribers  to  the  Gazette  who  are 
old  enough,  as  well  as  myself,  to  remember  something 
of  the  brilliant  boyhood  and  youth  of  Mr.  John  Howard 
Payne,  whose  death  at  Tunis,  where  he  was  consul  for 
the  United  States,  has  just  been  chronicled  in  the  news 
papers. 


104  RECORD    OF    THE    BOSTON    STAGE. 

"  He  was  an  example  of  precocious  talent,  the  like  of 
which  I  doubt  whether  this  country  has  produced,  and 
the  object  of  an  admiration  such  as  I  have  never  known 
to  be  bestowed  on  any  other  young  person. 

"  My  acquaintance  with  him  dates  so  far  back  as  the 
autumn  of  1804,  when  I  was  put  to  the  *  Berry  Street 
Academy,'  as  his  father's  boarding  school  in  the  street 
crossing  from  Atkinson  to  Federal  Street  was  called. 
He  belonged  to  a  family  of  genius.  A  sister,  who 
died  in  early  womanhood  in  1818,  was  especially 
admired  for  rare  endowments  and  accomplishments. 
In  the  family,  as  pupils,  were  several  young  ladies, 
who  have  since  done  great  honor  to  their  training. 
Miss  Sedgwick  was  one  of  them.  Howard  Payne, 
as  he  was  called,  a  boy  then  of  twelve  years  of  age, 
used  to  figure  on  training  days  as  the  captain  of 
the  '  Boston  Federal  Band,'  a  military  company,  com 
pletely  uniformed  and  equipped,  so  as  to  be  in  its  blue 
and  white  an  exact  miniature  of  Sargent's  company, 
the  l  Boston  Light  Infantry.'  I  recollect  that  on  one 
occasion  the  l  Boston  Federal  Band '  took  station  on  the 
left  of  one  of  the  regiments  at  a  review  on  the  common. 

"  Young  Payne  was  a  perfect  Cupid  in  his  beauty,  and 
his  sweet  voice,  self-possessed  yet  modest  manners,  wit, 
vivacity,  and  premature  wisdom,  made  him  a  most  en 
gaging  prodigy.  At  this  time  he  was  publishing  a  little 
weekly  paper,  of  four  pages  quarto,  called  '  The  Fly.' 
His  father  had  diligently  cultivated  his  talent  for  elo- 
•cution,  and  he  was  the  star  of  the  exhibitions  which  we 
used  to  have  at  the  Berry  Street  Academy,  where  a 
mimic  theatre  was  got  up,  with  stage,  curtain,  and  pit, 
.and  in  all  but  dresses  and  properties  we  nattered  our- 


RECORD    OF   THE   BOSTON    STAGE.  105 

selves  that  we  rivalled  the  regular  practitioners  in  the 
Federal  Street  Theatre  across  the  way.  I  have  not 
forgotten  how  he  frightened  me  one  night,  when  in  my 
best  Sunday  clothes  I  had  been  soliloquizing  as  Old 
Roque,  Floranthe's  Follower,  and  at  the  proper  time  he 
rushed  in  and  collared  me,  in  the  rags  and  tatters  of 
Octavian,  which,  without  concert  with  me,  he  had  bor 
rowed  of  Mr.  Powell.  I  have  faced  fiercer  onsets  since, 
but  none  I  think  which  more  tempted  me  to  turn  my 
back  and  disappear. 

"About  this  time  young  Betty,  as  the  Young  Roscius, 
was  making  a  great  noise  in  England  by  his  persona 
tions  of  Hamlet,  Romeo,  Tancred,  Selim,  Zaphna, 
Frederic,  Norval,  Octavian,  and  so  on ;  and  our  book 
sellers'  shop-windows  were  full  of  prints  representing 
his  attitudes  in  this  or  that  dramatic  exigency.  This 
was  the  spark  for  which  the  tinder  of  young  Payne's 
scenic  ambition  was  all  ready.  Themistocles  could  not 
sleep  for  thinking  of  the  trophies  of  Miltiades  ;  waking, 
Payne  thought,  and  sleeping,  he  dreamed  of  the  laurels 
of  Betty.  He  studied,  recited,  and  attitudinized,  and  the 
vision  of  weeping  boxes  and  shouting  gallery  and  pit 
filled  his  mind. 

"Among  his  pieces  of  fugitive  poetry  at  this  time, 
some  of  your  ancient  readers  may  remember  a  <  New 
Year's  Ode,'  and  an  'Elegy  on  the  Irish  starveling 
boy,  poet  Dermody.'  As  to  the  highest  inspiration  of 
poetry,  that  is  another  thing ;  but  in  respect  to  exact 
selection  of  words,  to  perfect  taste  and  finish,  and  grace 
of  versification,  those  pieces  are  not  to  be  exceeded. 

"  Payne  was  placed  in  a  counting-room  in  New  York, 
I  believe,  in  1805.  Presently  there  appeared,  from 


106  RECORD    OF   THE    BOSTON    STAGE. 

week  to  week,  a  sheet  entitled  the  '  Thespian  Mirror/ 
containing  criticisms  on  theatrical  performances.  They 
were  so  bright  and  judicious  as  to  attract  attention  and 
curiosity.  William  Coleman,  then  editor  of  the  Even 
ing  Post,  took  pains  to  trace  out  the  author,  and  to  his 
astonishment  found  him  a  boy  of  fifteen.  He  intro 
duced  him  to  his  friends,  and  Payne  became  all  the 
rage  in  the  fashionable  New  York  circles.  Irving, 
Paulding,  and  Verplanck,  (a  trio  then  becoming  famous 
by  Salmagundi,)  Fay,  (father  of  the  diplomatist  of  our 
day,)  Blauvelt,  and  Brevoort,  were  among  those  whose 
flattering  notice  he  attracted.  Having  gracefully  borne 
his  part,  as  not  only  the  Cynthius  of  the  minute,  but  of 
the  season,  he  and  his  friends  assented  to  the  proposal  of 
a  New  York  gentleman,  by  the  name  of  Seaman,  to  be 
at  the  expense  of  his  education  at  college,  and  to  Sche- 
nectady  he  went  for  that  purpose. 

"  But  to  remand  a  young  man  from  public  celebrity 
into  studious  college  retirement,  is  not  much  easier  than 
to  bring  about  the  recent  scheme  of  some  of  our  Con 
gressional  Solons,  of  remanding  California  into  a  terri 
torial  State.  Payne  had  tasted  the  cup  of  applause  too 
young,  and  perhaps  it  was  scarcely  in  nature  not  to 
crave  more ;  the  notice  of  the  great,  and  the  smiles  of 
the  fair,  were  not  for  a  boy  easy  to  turn  his  back  upon. 
He  had  scarcely  got  to  his  place  of  work  at  Schenec- 
tady  before  the  '  Pastime,'  a  weekly  magazine  of  eight 
octavo  pages,  opened  a  new  communication  with  the 
public.  An  old  file  which  we  have  just  looked  up, 
shows  the  first  number  to  have  been  issued  in  Febru 
ary,  1807.  In  the  seclusion  of  a  then  inland  Calvinistic 
college  the  seductions  of  the  drama  still  pursued  him, 


KECORD    OF   THE   BOSTON    STAGE.  107 

and  sock  and  buskin  made  their  prints  all  along  the 
pages  of  the  '  Pastime.' 

"  At  length,  in  1808,  the  ruling  passion  burst  through 
all  restraint,  and  he  came  home  to  Boston  to  make  his 
preparations  for  the  stage,  A  generous  motive,  of  an 
impulse  of  filial  duty,  excused  to  him,  and  perhaps 
concealed  from  him,  the  force  of  the  prompting  of  his 
own  taste  and  ambition.  His  father  had  fallen  into 
unprosperous  circumstances,  from  which  his  now  ad 
vancing  age  did  not  afford  a  prospect  of  relief.  I  was 
still  a  member  of  the  family,  and  shared  Howard's 
room,  along  with  the  office  of  prompter  and  critic, 
while  he  '  ran  through  each  mode  of  the  lyre/  the  dia 
pason  of  histrionic  passion.  At  the  same  time  he  con 
ducted  the  <  Boston  Mirror,'  for  Oliver  &  Munroe, 
the  latter  since  editor  of  the  Baltimore  Patriot. 

"  His  first  appearance  on  the  boards  was  at  the  Park 
Theatre,  New  York,  in  the  month  of  February,  1809. 
He  played  in  Betty's  range  of  characters  with  immense 
success.  He  then  came  to  Boston,  where  an  equal 
enthusiasm  greeted  him.  It  followed  him  to  Phila 
delphia,  Baltimore,  and  other  Southern  theatres.  The 
many-headed  was  entranced,  and  adepts  considered 
his  performances  not  only  astonishing  for  his  years, 
but  essentially  in  a  high  style  of  art.  His  large  early 
earnings  were  said  to  have  been  devoted  to  the  relief 
of  his  father's  embarrassments. 

"His  dramatic  career  was  perhaps  at  no  stage  more 
brilliant  than  at  the  beginning.  I  have  an  impression 
that,  as  he  enlarged  his  range  of  characters,  he  studied 
them  with  less  care.  His  success  in  Boston  in  1811 
and  1812,  was  not  equal  to  that  of  his  first  appearance. 


108  RECORD    OF   THE    BOSTON    STAGE. 

He  had  wearied  of  his  profession  at  that  time,  and  said 
that  nothing  detained  him  in  it  but  the  want  of  some 
other  means  of  livelihood.  In  the  spring  of  that  year 
he  embarked  for  England  to  try  his  fortune  in  that 
country.  The  war  was  then  just  coming  on,  and  popu 
lar  prejudice,  which  is  nowhere  more  savage  than  in 
play-house  pits  and  galleries,  told  against  the  young 
American.  Some  one  got  up  a  story  that  he  was  a 
son  of  Thomas  Paine.  These  disadvantages  were  too 
much  for  him ;  and  after  having  forced  his  way  to  a 
second  or  third  night  at  Drury  Lane,  he  withdrew. 

"  He  acquired  the  friendship  of  some  Englishmen  of 
distinction,  and  in  particular,  formed  an  intimacy  with 
Counsellor  Phillips.  He  went  the  round  of  the  pro 
vincial  theatres,  but  after  awhile  was  led  to  turn  his 
professional  talent  and  experience  into  another  channel, 
that  of  translating  French  vaudevilles  and  other  pieces, 
and  adapting  them  to  the  English  stage.  In  this  way 
he  composed  the  '  Merry  Monarch,'  ( Theresa,  the 
Orphan  of  Geneva,'  '  Clari,'  and  other  little  comedies 
better  known  to  your  theatrical  readers  than  to  me. 
In  these,  his  charming  poetical  talent  came  into  play. 
For  one  of  thejm  he  wrote  the  sweet  song  of  '  Sweet 
Home,'  for  which  he  told  me  he  received  fifty  pounds, 
while  the  musical  composer  had  five  hundred  pounds. 
The  tragedy  of  '  Brutus '  was  a  more  original  work, 
more  sustained,  and  of  more  pretension.  Parts  of  it, 
I  believe,  are  but  a  cento  from  earlier  and  more  famous 
writers.  But  those  which  are  in  every  sense  his  own, 
are  among  the  best  of  the  piece. 

"  War,  distance,  and  different  pursuits  suspended  my 
intimacy  with  him  from  1812  to  1825,  when  arriving 


RECORD    OF   THE   BOSTON    STAGE.  109 

in  Paris,  I  immediately  sought  him  out  with  the  impa 
tience  with  which  one  seeks  those  who  have  been  an 
other  self  in  childhood.  I  found  him  sharing  the  lodg 
ings  of  Washington  Irving,  (who,  I  believe,  was  just  then 
in  Spain,)  and  engaged  in  the  service  of  one  of  the 
great  London  theatres,  in  watching  for  the  purpose  just 
mentioned,  the  new  pieces  brought  out  in  those  of  Paris. 
It  was  delightful  to  find  him  as  little  changed  since  our 
parting,  as  it  was  possible  for  the  lapse  of  more  than 
thirteen  years  to  leave  a  man.  During  that  time  (still  a 
boy  when  he  had  exiled  himself)  he  had  been  absent  from 
home  and  friends ;  he  had  been  loose  upon  the  world ; 
he  had  been  living  about  London  and  Paris  green 
rooms.  But  he  had  retained  all  the  freshness  and 
simplicity  he  had  carried  away.  The  glorification  and 
caresses  of  early  times  had  not  spoiled  him  for  rational 
satisfactions  and  a  modest  self-estimate.  The  world 
had  sometimes  gone  hard  with  him,  but  it  had  done 
nothing  in  the  way  of  making  him  acrid  and  morose, 
The  man  was  as  gentle,  unhackneyed,  sincere,  and 
sanguine  as  the  boy. 

"  He  returned  to  this  country  in  1831,  and  in  the  fol 
lowing  winter  a  benefit  was  arranged  for  him  by  some 
of  his  old  friends  at  the  Tremont  Theatre. 

"  He  made  his  home  in  New  York,  with  an  attached 
younger  brother,  who  had  risen  to  eminence  as  a  prac- 
titiojier  of  law  in  that  city.  He  sent  out  proposals  for 
a  magazine  on  a  scale  of  such  magnificence  and  costli 
ness  that  the  scheme  did  not  succeed.  At  this  time  he 
consulted  me  respecting  the  publication  of  a  'Life  of 
the  Saviour/  which  he  had  prepared  in  the  manner  of 
a  harmony  of  the  four  Gospels.  It  was  beautifully 


110  RECORD    OF   THE   BOSTON   STAGE. 

executed,  on  the  common  theory  of  the  three  years 
duration  of  the  ministry  of  Jesus.  But  the  recent  pub 
lication  of  Mr.  Ware's  admirable  work  with  the  same 
title,  had  pre-occupied  the  market.  He  became  inter 
ested  in  the  affairs  of  the  Cherokees,  at  the  .time  of 
their  troubles,  and  was  for  awhile  actively  employed 
with  John  Ross,  in  his  own  country  and  at  Washington. 
At  one  time  he  was  arrested  and  carried  off  by  a  party 
of  Georgia  militia,  on  whom  he  took  good-natured  but 
exemplary  vengeance  by  a  history  of  their  exploit  in 
the  newspapers.  He  had  a  taste  for  hazardous  adven 
ture.  Before  leaving  America,  he  had  been  one  of  the 
party  which  defended  Hanson's  printing  office  in  Balti 
more,  and  which  was  afterwards  attacked  by  the  mob, 
who  killed  one  or  two,  in  the  jail  where  they  had  been 
lodged  for  their  protection. 

"In  1841  he  was  one  of  the  most  welcome  and  fre 
quent  habitues  of  the  Presidential  mansion.  In  the 
summer  of  that  year  he  received  from  President  Tyler 
the  appointment  of  Consul  at  Tunis.  As  I  sat  with 
him  at  his  table  that  evening,  he  pointed  to  his  full 
sized  portrait  hanging  by,  representing  him  in  the  cha 
racter  of  Zaphna,  in  the  dress  which  we  both  remem 
bered  to  have  first  worn  in  that  part.  He  said  lie  had 
the  dress  still,  and  asked  me  how  I  thought  it  would  do 
for  him  to  wear  it  at  his  presentation  to  the  Bey.  But 
he  made  no  joke  of  his  official  business.  He  cjjd  it 
very  thoroughly  and  ably.  I  have  looked  over  his  let 
ter  books,  and  I  do  not  believe  the  government  has  often 
had  agents  who  have  better  filled  their  place.  I  re 
member  the  books,  too,  as  a  feast  to  the  eye.  His 
hand-writing  was  beautiful.  Indeed,  in  whatever  be- 


RECORD    OF   THE   BOSTON   STAGE  111 

longed  to  him,  from  verses  to  furniture,  from  the  choice 
expression  of  a  letter  to  the  folding  of  the  sheet  that 
bore  it,  there  was  a  rare  governing  elegance  and  taste. 
"Mr.  Folk's  administration  recalled  him  from  the 
consulate  at  Tunis.     He  was   re-appointed  to  it  last 
year  by  Mr.  "Webster,  and  at  that  post,  it  seems,  has 
now  closed  his  life.     Many  mourn  him.     The  fascina 
tion  of  his  early  brilliancy  has  left  its  record  on  many 
minds.     The*  tidings  of  his  departure  touch  many  hearts 
with  very  tender  memories.     Always  buoyant,  full  of 
resource,  rich  in  the  stores  of  a  varied  and  peculiar  ex 
perience,  his  society  had  always  a  singular  attraction. 
Always  busy  about  something,  he  always  kept  his  mind 
cheerful  and  wide  awake.     His  abilities  did  not  fulfil 
their  early  promise.     His  faculties  were  never  disci 
plined  by  the  healthy  toil  of  exact  study,  nor  was  his 
knowledge  enlarged  by  methodical  and  various  acquisi 
tions  from  books.     But,  if  he  did   not   assimulate   or 
amass  in  the  way  necessary  for  a  higher  eminence  than 
.  he  attained,  so  quick  a  mind  with  such  opportunities 
could  not  fail  to  collect  a  great  deal  of  what  was  profit 
able  and  pleasant  for  immediate  use ;  his  grace  of  ex 
pression  from  boyhood  to  age,  combining  remarkably 
the  exactness  of  art  with  the  ease  of  nature,  had  a  sin 
gular  charm  ;  and  I  presume  a  collection  of  his  letters 
might  be  made  which  would  take  a  high  rank  in  that 
department  of  composition.     But  what  I  like  most  to 
think  of  is,  that  a  life  begun  in  some  respects  so  unpro 
pitiously  should  have  passed  to  its  end  so  blamelessly 
and  so  happily.     To  be  the  spoiled  child  of  public  en 
thusiasm,  and  not  be  a  ruined  man  —  to  lose  the  huzzas 
that  have  cheered  one  on  to  the  threshold  of  life  and 


112  RECORD    OF   THE    BOSTON    STAGE. 

not  become  a  blaze  or  a  misanthrope,  —  to  be  made 
drunk  with  admiration  in  the  feebleness  of  one's  teens, 
and  not  wake  to  a  chronic  imbecility  or  spleen,  bespeaks 
the  presence  of  elements  of  a  noble  nature. 

"  The  following  lines,  addressed  by  him  to  Miss  Mayo, 
of  Virginia,  now  Mrs.  General  Scott,  I  set  down  from 
memory.  They  were  written,  I  believe,  in  1813  or 

1814:  — 

• 

*  Last  night,  while  restless  on  my  bed, 

I  waited  for  the  dawn  of  morrow, 
Soft  slumbers  eased  my  aching  head, 
And  soothed  in  fairy  dreams  my  sorrow. 

4 1  stood  in  that  serene  retreat 

Which  smiles  in  spite  of  stormy  weather, 
Where  flowers  and  virtues  clustering  meet, 
And  cheeks  and  roses  blush  together. 

'  When  soon  twelve  sylph-like  forms,  I  dreamed, 

Successive  on  my  vision  darted, 
And  still  the  latest  comer  seemed 
Fairer  than  she  who  just  departed. 

'  But  one  there  was,  whose  azure  eye 

A  melting  holy  lustre  lighted, 
Which  censured  while  it  waked,  the  sigh, 
And  chid  the  feelings  it  excited. 

' "  Mortal,"  a  mystic  speaker  said, 

"  In  these  the  sister  months  discover  ; 
Select  from  these  the  brightest  maid, 
Prove  to  the  brightest  maid  a  lover ' 

'  I  heard,  and  felt  no  longer  free, 

From  all  the  rest  I  gladly  sever, 
And  in  perennial  joy  with  thee, 
Dear  May-0!  could  abide  forever.'  " 


RECORD    OF   THE   BOSTON    STAGE.  113 

On  the  18th  of  September,  Mrs.  Darley,  formerly 
Miss  Westray,  re-appeared  as  Helen  Worrett  in  the 
comedy  of  "  Man  and  Wife."  Mr.  Darley  made  his 
first  appearance  before  a  Boston  audience  as  Paul  in 
"  Paul  and  Virginia,"  and  at  once  established  his  fame 
as  a  vocalist,  and  in  the  opinion  of  the  critics  was  pro 
nounced  the  best  who  had  then  appeared  in  Boston. 
His  Frenchmen  were  also  good,  and  his  fine  manly  face 
gave  him  superiority  to  most  who  represented  the  sec 
ond  gentleman  of  the  drama. 

Mr.  and  Mrs.  Claude  appeared.  Claude  married 
Mrs.  Hogg,  who  possessed  a  good  figure,  sung  well,, 
and  was  a  very  respectable  actress.  Claude  was 
only  fair  as  an  actor.  He  gained  some  repute  for  his- 
representation  of  "Tekeli"  the  first  season  of  that 
piece  at  the  Federal  Street.  He  was  occasionally 
rather  loose  in  his  habits,  but  subsequently  became 
serious,  studied  theology,  and  preached  in  Boston  once 
or  twice  during  a  visit  he  made  here. 

An  American  play  by  "William  Charles  "White,  Esq.,, 
entitled  "  The  Clergyman's  Daughter "  was  brought 
out.  The  play  was  formed  in  some  respects  upon  the 
"  Gamester,"  and  was  quite  successful. 

At  this  time  the  taste  of  our  citizens  for  spectacles,, 
began  to  evince  itself.  "  Tekeli,"  brought  out  in  1809) 
had  proved  successful,  and  the  managers  announced  as 
in  preparation  "THE  FORTY  THIEVES,"  that  much 
admired  play,  at  once  the  delight  of  the  juveniles,  and 
a  favorite  with  children  of  an  older  growth.  In  order 
to  bring  it  out  with  fine  effect,  the  theatre  was  closed 
for  ten  days,  and  on  the  12th  of  March,  1810,  the  grand 
8 


114  RECORD    OF    THE    BOSTON    STAGE. 

spectacle  was  produced,  in  a  style  of  magnificence,  we 
are  assured  by  those  who  saw  it,  which  has  never  been 
equalled  since.  The  leading  characters  were  persona 
ted  as  follows :  All  JBaba,  Mr.  Bernard ;  Ganem,  Dar- 
ley ;  Mustapha,  (the  cobler)  Dickson ;  Selim,  Adams ; 
Cassim,  Johnson ;  Abdallah,  Claude  ;  Hassarac,  Mills  ; 
1st  Robber,  Barnes ;  Arcobrand,  Robinson ;  War,  Par 
sons;  Famine,  Stowell;  Fraud,  Sumes;  Rapine,  Al 
len  ;  Morgiana,  Mrs.  Darley ;  Cagia,  Mrs.  Mills ; 
Zaide,  Mrs.  Simpson ;  Ardenelle,  Mrs.  Turner  ;  Attend- 
ant  on  the  Faerie,  Mrs.  Graupner;  Gossamer,  Miss 
Worrall ;  Zelie,  Mrs.  Claude. 

When  this  piece  was  produced,  the  managers  were 
about  two  thousand  dollars  out  of  pocket  on  the  busi 
ness  of  the  season,  but  it  proved  the  "  open  sesame  "  to 
the  purses  of  the  public,  and  so  great  was  the  attraction 
that  people  were  refused  admittance  on  several  even 
ings,  every  inch  of  room  being  occupied  long  before  the 
curtain  went  up.  Books  of  the  performance  were  sold 
at  twelve  and  a  half  cents,  and  the  managers  not  only 
retrieved  the  losses  made  in  the  earlier  months  of  the 
season,  but  divided  some  three  thousand  dollars  clean 
profit  over  and  above  all  expenses.  The  receipts  of 
the  first  night  were  nine  hundred  and  eight  dollars 
and  thirty-seven  cents,  and  the  amount  received  for 
nine  successive  performances  was  six  thousand  six 
hundred  and  forty-seven  dollars  and  twelve  cents.  The 
play  had  a  good  run  for  many  seasons. 

Fennell,  who  was  then  editing  a  magazine  here, 
called  "Something  edited  by  Nemo  Nobody,"  com 
posed  the  following  epigram  on  the  play :  —  , 


RECORD    OP   THE  BOSTON   STAGE.  115 

"  The  Beggar's  Opera  they  say, 

(Sure  fashion  is  a  witch;) 
Made  Eich,  the  manager,  be  gay, 
And  Gay,  the  author,  rich. 

"  So  here  aspiring  honesty 
No  patronage  receives ; 
While  thick  as  bees  the  public  fly 
To  help  the  Forty  Thieves. 

•"Tis  well  our  managerial  clan 

The  public  taste  have  hit; 
For  had  they  not,  this  season's  plan 
Had  left  the  biters  bit. 

"  No  more  counts  Powell  what  it  cost  — 

His  cheeks  with  rapture  burn; 
What  forty  honest  souls  had  lost 
His  Forty  Thieves  return." 

Mr.  Dwyer  appeared  during  this  season. 

The  season  of  1810-11  brought  before  the  Boston 
public  Mr.  and  Mrs.  Duff.  They  were  engaged  by  Mr. 
Dickson  in  England.  Mr.  Duff  was  an  Irishman  by 
birth,  and  with  his  wife  had  performed  in  Dublin.  Mr. 
Duff  made  his  first  appearance  as  Gossamer,  in  "  Laugh 
when  you  Can  ; "  his  forte  was  in  genteel  and  sprightly 
comedy.  In  Philadelphia  he  was  a  great  favorite,  and, 
on  one  occasion,  exhibited  the  versatility  of  his  powers 
by  performing  Macbeth  and  Diddler  on  the  same  even 
ing.  His  second  benefit  in  that  city  yielded  $1,574. 
Mr.  Duff  was  subsequently  manager  of  the  Federal 
Street  Theatre,  and  died  in  Philadelphia  in  April, 
1831. 

Mrs.  Duff  made  her  first  appearance  as  Juliet  to  her 
husband's  Romeo.  A  more  beautiful  woman  had  not 
trod  the  stage,  and  so  far  as  the  making  up,  and  personal 
was  concerned,  it  was  admitted  that  a  more  gentle 


116  RECORD    OF   THE   BOSTON   STAGE. 

Juliet,  or  one  possessing  so  black  an  eye,  had  not  ap 
peared  ;  but  the  "  spirit "  seemed  wanting.  Her  style 
was  indifferent,  and  lacked  both  power  and  concep 
tion,  and  her  best  friends  lost  all  hopes  of  her  ever 
assuming  a  position.  Mr.  Duff  had  his  faults,  and 
among  them  a  love  of  jovial  company,  which  threatened 
to  check  his  prosperity  as  an  actor.  Stimulated  by 
necessity,  and  fearful,  perhaps,  that  she  might  at  any 
moment  be  thrown  upon  her  own  resources,  Mrs.  Duff 
brightened  up,  and  though  for  years  she  had  been  con 
tent  to  toil  and  travel  as  a  third  rate  actress,  she  sud 
denly,  as  if  touched  by  a  magic  wand,  threw  off  the 
languor  of  indifference,  and  exhibited  the  true  fire  of 
genius.  The  change  was  sudden,  but  it  proved  per 
manent,  as  many  who  recollect  her  Belvidera,  Juliet,  etc., 
at  the  Tremont  can  testify.  Mrs.  Duff  was  formerly  a 
Miss  Dyke,  and  sister  to  Tom  Moore's  first  wife,  and  we 
have  seen  it  stated  that  the  poet's  song  commencing  — 

"  Mary,  I  believe  thee  true," 

was  addressed  to  Mrs.  Mary  Duff.  After  her  hus 
band's  death  this  lady  contracted  a  very  singular  mar 
riage  with  Charles  Young.  She  met  this  gentleman, 
then  superannuated,  in  Broadway,  New  York,  who 
saluted  her  with  the  courtesies  of  the  day,  and  begged 
permission  to  escort  her  to  her  lodgings.  As  they  were 
walking  along  very  quietly,  Mr.  Young,  after  a  few 
moments  of  mental  abstraction,  said :  "  Mrs.  Duff,  you 
are  a  widow  and  I  am  a  widower ;  suppose  we  step 
into  the  office  of  a  magistrate  and  get  married." 

"  With  all  my  heart,"  replied  Mrs.  Duff,  and  so  said 
so  done,  and  Mr.  Charles  Young  was  legally  wedded  to 


RECORD    OF   THE   BOSTON   STAGE.  117 

Mrs.  Mary  Duff.  Prior  to  the  ceremonial  it  was  agreed 
that  the  marriage  should  not  be  consummated  till  the 
lapse  of  six  weeks,  and  in  the  meantime  Mrs.  Duff  was 
to  go  by  her  former  name,  in  order  that  she  might  secure 
professional  preferment.  Thus  far  matters  worked  well, 
but  Mr.  Young  wishing  at  the  end  of  a  few  days  to  take 
his  wife  to  his  home,  called  on  the  lady  and  found  her 
gone  to  Philadelphia.  Mrs.  Duff  avowed  that  she  had 
perpetrated  the  act  of  matrimony  under  the  influence 
of  mental  hallucination,  produced  by  sorrow  and  illness, 
in  connection  with  potations  of  opium,  and  never 
acknowledged  Mr.  Young  as  her  husband.  Mrs.  Duff  is 
still  living.  We  shall  have  occasion  to  allude  to  her 
impersonation  frequently  in  this  record.  She  made 
a  visit  to  England,  after  she  had  attained  to  popularity 
here,  but  with  no  marked  success. 

Mr.  and  Mrs.  Samuel  Drake  and  daughter  also  ap 
peared  this  season.  Mr.  Drake  became  one  of  the 
pioneers  of  the  drama  in  the  West,  and  the  first  of  a 
family  which  has  ever  followed  the  profession.  Miss 
Julia  Dean,  the  most  promising  American  actress  of 
the  present  day,  is  the  daughter  of  Miss  Julia  Drake, 
who  died  in  the  bright  meridian  of  her  theatrical  glory, 
and  Mr.  Samuel  Drake  is  her  grandfather,  who  is  still 
living  in  Kentucky.  Mr.  Entwistle,  Vining,  etc.,  were 
members  of  the  stock.  It  was  also  about  this  time 
that  Mr.  Morse,  a  law  student,  encouraged  by  Mr. 
Cooper's  commendations,  first  attracted  attention  as  an 
actor,  but  the  sanguine  hopes  of  his  friends  and  the 
public  were  not  realized  as  he  increased  in  years.  In 
the  last  war  with  Great  Britain,  Morse,  who  had  played 
General  Warren,  in  the  melo-drama  of  "  Bunker  Hill," 


118      RECORD  OF  THE  BOSTON  STAGE. 

made  application  to  General  Hull  and  General  Dear 
born  for  a  commission,  which  at  that  time  it  was  easy 
to  obtain.  "What  commission  would  you  like,  Mr. 
Morse  ?  "  asked  General  Hull.  «  Why,"  replied  Morse, 
"  I  should  like  a  pretty  good  one ;  I  should  like  a  Captain's 
commission."  "  That  is  a  very  modest  request,"  said 
General  Dearborn,  "  for  one  who  can  play  the  General 
as  well  as  he  can."  He  entered  the  service,  served 
during  the  war,  and  has  since  died. 

On  the  3d  of  January,  1811,  GEORGE  FREDERICK 
COOKE,  one  of  the  greatest  actors  of  his  day,  then  recently 
arrived  from  England,  made  his  appearance  at  the  Bos 
ton  Theatre,  and  as  his  name  will  ever  be  associated  with 
the  brightest  and  most  distinguished  in  the  theatrical 
callender,  we  will  give  a  brief  biographical  sketch  of 
his  career: 

George  Frederick  Cooke  was  born  at  Westminster, 
England,  on  the  17th  of  April,  1756.  His  father,  a 
dashing  officer,  died  while  he  was  young,  leaving  his 
mother  in  straitened  circumstances.  His  mother  did 
not  long  survive  his  father,  and  after  her  death,  Cooke 
was  apprenticed  to  Mr.  John  Taylor,  a  respectable 
printer  of  Berwick.  His  attention  was  chiefly  en 
grossed  by  getting  up  private  theatricals,  and  he  paid 
but  little  attention  to  types  or  ink.  For  several  years 
he  was  a  rolling  stone,  wandering  here  and  there. 
Visiting  London,  he  saw  Macklin  and  Garrick  perform, 
and  in  the  spring  of  1776,  first  faced  an  audience  at 
Brentford,  in  the  character  of  Dumont,  in  the  tragedy 
of  "  Jane  Shore."  For  two  years  he  was  a  member  of 
a  strolling  company,  and  though  he  gained  experi 
ence  he  gained  little  else.  In  the  spring  of  1778,  Mr. 


RECORD    OF   THE   BOSTON    STAGE.  119 

Cooke  made  his  debut  in  London,  and  whether  it  was 
not  the  season,  or  that  he  lacked  talent,  we  know 
not,  but  he  made  at  that  time  no  decided  impression. 
He  performed  with  Mrs.  Siddons  at  several  of  the 
provincial  theatres,  but  already  he  had  contracted  habits 
of  dissipation  and  drunkenness,  which  he  was  only 
temporarily  free  from  during  a  life  brought  to  a  prema 
ture  close  by  brutal  self-indulgence.  In  1794,  then 
thirty-eight  years  of  age,  having  been  seventeen  years 
a  player,  he  made  his  first  appearance  in  Dublin  as 
Othello.  He  was  connected  with  the  theatre  here  a 
year,  when,  in  a  fit  of  desperation,  he  enlisted  as  a 
private,  in  a  regiment  destined  for  the  West  Indies,  but 
a  fit  of  sickness  prevented  his  embarking  with  his  regi 
ment,  and  through  the  aid  of  friends,  after  remaining 
some  time  in  service,  he  obtained  his  discharge,  and 
appeared  again  at  Manchester,  and  was  greeted  with 
the  most  enthusiastic  applause.  Shortly  after,  he  again 
disappeared  from  the  theatrical  world,  and  it  is  a  matter 
of  uncertainty  where  he  passed  twenty  months,  though, 
when  under  the  influence  of  liquor,  he  asserted,  that 
during  this  period  he  was  in  the  British  navy,  which 
attempted  to  subjugate  the  United  States.  In  1794, 
Cooke  married  Miss  Daniels,  an  actress,  who  soon  for 
sook  her  lord,  when  on  a  visit  to  Dublin,  and  returned 
to  England,  and  the  marriage  was  afterwards  declared 
null  and  void  by  legal  authority.  For  two  years  Cooke 
remained  in  Ireland,  leading  a  life  of  dissipation, 
performing  when  able,  and  disappointing  the  public 
when  physically  unable  to  appear.  In  1800,  Mr.  Cooke 
was  offered  an  engagement  at  Covent  Garden,  and  for 
a  time  he  rose  above  the  debasing  habits  he  had  con- 


120  EECOED    OF    THE    BOSTON    STAGE. 

tracted,  and  on  the  31st  of  October,  appeared  as 
Richard  III.,  astonishing  a  London  audience  by  his 
genius.  In  some  characters  of  tragedy  he  was  thought 
by  many  even  superior  to  John  Philip  Kemble,  who 
till  then  held  undisputed  sway  in  the  tragic  theatrical 
world.  His  great  success  at  this  time  was  in  Shyloclc, 
in  laao,  and  in  the  Man  of  the  World.  In  these  he 
did  not  fear,  and  had  no  occasion  to  fear  any  competi 
tion  in  his  own  times,  and  his  fame  would  have  been 
established  and  his  fortune  made,  had  he  not  taken,  on 
the  18th  of  April,  1801,  the  first  of  those  strange 
•liberties  with  the  public,  that  afterwards  became  insult 
ing  and  insufferable. 

When  Cooper  returned  to  England  in  1803,  Cooke 
had  again  contracted  the  habit  of  drinking  to  excess. 
On  one  occasion,  after  having  passed  a  day  with  Cooper, 
he  attempted  to  perform,  but  the  hisses  were  loud  and 
strong,  and,  overcome  by  the  fumes  of  wine,  he  walked 
up  the  stage.  Mr.  Johnstone,  who  was  playing  Sir 
Calaghan,  addressing  the  audience  in  full  brogue,  said : 
"Ladies  and  gentlemen  —  Mr.  Cooke  says  he  can't 
spake"  Mr.  Cooke  was  a  member  of  Covent  Garden 
with  Mr.  Kemble  and  Mrs.  Siddons,  and  on  one  occa 
sion,  when  he  was  to  perform  Pizarro  to  Mr.  Kemble's 
JRotta,  and  Mrs.  Siddons's  Elvira,  he  was  so  indis- 
•jposed  that  after  a  few  ineffectual  attempts  to  proceed, 
'he  made  an  effort  to  address  the  audience,  and  began  — 
'pressing  his  hand  upon  his  cheek,  and  making  a  lament 
able  face  :  "  Ladies  and  gentlemen :  my  old  complaint  — 
•my  old-  complaint."  This  was  irresistible,  and  the 
laughter  so  instantaneous  that  he  retired.  Once  play 
ing  Shylock,  when  intoxicated,  he  was  much  hissed; 


RECORD    OF    THE    BOSTON    STAGE.  121 

two  nights  after,  he  was  advertised  for  Richard,  but 
did  not  appear  at  all.  On  his  next  performance  he  was 
received  with  much  disapprobation,  when  he  turned  to 
Claremont,  and  said,  "  On  Monday  I  was  drunk,  but  ap 
peared,  and  they  did  n't  like  that ;  on  Wednesday  I  was 
drunk,  so  I  didn't  appear,  and  they  don't  like  that. 
What  the  devil  would  they  have  ? "  Once,  at  Glas 
gow,  Rich,  of  Edinburgh,  had  occasion  to  make  an 
apology  for  Cooke's  being  unable  to  act,  and  it  was  to 
a  tragic  tone,  suiting  the  action  to  the  word :  "  Ladies 
and  gentlemen — Mr.  Cooke,  I  am  grieved  to  say,  has 
been  taken  with  the  bowl  complaint,"  alluding  to  George 
Frederick's  predilections  for  the  punch-bowl.  In  the 
summer  of  1802,  Cooke  played  Glenalvon,  to  Master 
Betty's  Young  Norval.  Master  Betty  was  one  of  those 
wonderful  cases  of  precociousness  which  from  time  to 
time  astonish  the  theatrical  public.  His  success  was 
immense  throughout  England,  Ireland,  and  Scotland, 
and  no  prodigy  since  has  ever  created  such  a  furore. 
Cooke  lost  cast  by  playing  with  the  pigmy,  but  he  was 
obliged  to  do  so,  being  entirely  dependent  upon  his 
earnings  for  support.  In  1808,  Miss  Lamb,  with  whom 
he  became  acquainted  in  Edinburgh,  arrived  in  London 
as  Mrs.  Cooke. 

Our  limits  will  not  allow  us  to  enter  into  any  lengthy 
details  respecting  the  stratagem  used  by  T.  A.  Cooper, 
then  manager  with  Price  of  the  New  York  theatre,  for 
inducing  Cooke  to  visit  America.  It  was  in  1800,  that 
Cooper,  then  in  Liverpool,  England,  met  with  Cooke, 
who  still  continued  his  course  of  dissipation.  They 
met,  and  Cooper,  not  expecting  to  induce  the  great 
tragedian  to  go  across  the  water,  asked  him  if  he  knew 


122       RECORD  OF  THE  BOSTON  STAGE. 

of  any  good  actors  that  he  could  engage?  Cooke 
replied  that  he  himself  might  be  induced  to  go,  and 
Cooper,  after  consulting  with  Dickson  of  the  Federal 
Street  Theatre,  then  in  London,  wrote  him  in  August 
from  London,  offering  him  twenty-five  guineas  a  week 
for  ten  months  to  play  at  New  York,  Boston,  Philadel 
phia,  and  Baltimore,  a  benefit  at  each  place,  and 
twenty-five  cents  a  mile  for  travelling  expenses  between 
the  above-mentioned  places ;  his  passage  over  the 
Atlantic  being  paid  by  Mr.  Cooper.  To  this  Mr. 
Cooke  made  no  reply,  and  all  negotiations  were  for  the 
time  ended,  till  Mr.  Cooper  again  met  Mr.  Cooke  at 
Prescott,  then  just  recovering  from  one  of  his  "  semi- 
occasional  sprees."  He  accepted  the  offer,  and  Mr. 
Cooper,  aware  that  if  Mr.  Cooke's  departure  were 
known,  it  would  be  prevented,  at  once  resolved  to  carry 
him  to  a  friend's  house,  near  Liverpool.  Here,  in  a 
state  of  inebriety,  he  remained  over  night,  and  was 
conducted  thence  in  a  carriage  and  four  to  the  place  of 
departure.  On  their  alighting,  says  Mr.  Dunlap,  in 
his  "  Life  of  Cooke,"  from  which  we  gather  many  par 
ticulars  for  this  condensed  biographical  sketch,  Mr. 
Cooper  addressed  Cooke,  offering  him  his  choice,  either 
the  barge  or  the  coach.  He  persisted  in  his  intention 
of  going,  and  he  was  rowed  on  board  the  Columbia, 
Captain  Hazard,  which  set  sail  on  the  4th  of  October, 
1810.  Even  after  he  was  on  board,  he  was  only  pre 
vented  from  again  being  taken  on  shore  by  bribing  the 
custom-house  officers,  owing  to  some  informality  in  his 
name  being  omitted  in  the  passenger  list  at  the  custom 
house. 

Cooke's  arrival  in  America,  which  marks  an  era  in 


RECORD    OF   THE   BOSTON   STAGE.  123 

the  dramatic  world  of  this  country,  was  a  fact  that  could 
scarcely  obtain  credence.  Many  were  inclined  to 
believe  that  it  was  an  impostor,  and  he  was  actually 
playing  in  New  York,  before  the  residents  of  Boston 
and  Philadelphia  were  aware  of  his  advent.  The 
passage,  which  had  been  one  of  abstinence,  had  physi 
cally  improved  him,  and  on  the  21st  of  November, 
1810,  he  made  his  first  appearance  on  the  American 
stage,  in  the  character  of  Richard  the  Third,  before  an 
audience  of  three  thousand  two  hundred  people.  Mr. 
Cooke  was  then  in  the  fifty-fifth  year  of  his  age,  but 
he  never,  perhaps,  had  performed  better  in  his  life,  and 
his  success  was  immense.  There  was  $1,820  in  the 
house,  and,  till  he  disappointed  the  public  on  the  night 
of  his  benefit  in  his  usual  way,  the  receipts  invariably 
exceeded  a  thousand  dollars  per  night.  During  the 
seventeen  nights  he  played  in  New  York,  the  money 
received  by  the  manager  was  $21,578. 

On  the  3d  of  January,  1811,  Mr.  Cooke  made  his 
appearance  at  the  Boston  Theatre  in  Richard  the  Third, 
with  the  following  cast :  "  Duke  of  Buckingham,  Mr. 
Entwistle ;  Earl  of  Richmond,  Mr.  Duff;  Prince 
Edward,  (first  appearance,)  Master  Drake;  Lord 
Mayor,  Mr.  Dickson  ;  Queen  Margaret,  Mrs.  Powell ; 
Lady  Anne,  Mrs.  Duff;  Duchess  of  York,  Mrs.  Drake. 
During  this  visit  to  Boston  he  sat  to  Stuart  for  his  por 
trait,  and  was  engaged  in  several  rows,  the  consequence 
of  his  old  habit.  The  result  of  this  engagement,  how 
ever,  was  as  follows :  — 

January  3d,         Kichard,        .        .        .  $881  60 

"         4th,  "  739  87  1-2 

"        7th,        Man  of  the  World,      .        .         887  75 


124  RECORD    OF    THE    BOSTON    STAGE. 

January,  9th,        Merchant  of  Venice,       .        .     979  37  1-2 
"       lO.th,        Douglass  and  Love  a  la  Mode,     76400 
"       llth,        Man  of  the  World,       .        .         614  12 
"       14th,        Merchant  of  Venice,     ".        .      825  75 
"       16th,        Othello,         .        .        .        .        841  75 
"       17th,        Merchant  of  Venice,     .        .       624  87  1  4 
"       18th,        Macbeth,    (Mr.   Cooke's  clear 

night,     ....     1,008  12  1-2 
"       21st,        1st  part  of  Henry  IV.,   .        .       867  50 
"       22d,          Othello,          ....    1,115  25 
"      24th,        1st  part  of  Henry  IV.,  .        .      665  37  1-2 
Richard  III., 915  62 

The  house  had  not  been  so  crowded  for  six  years, 
and,  as  will  be  seen,  the  receipts  were  great,  when  we 
consider  the  capacity  of  the  house.  Price  (Cooke  being 
paid  a  salary)  received  for  this  engagement  $3,640  68. 
While  in  Boston,  it  is  said  that  at  a  private  party,  he 
was  asked  what  was  the  most  beautiful  passage  he  had 
ever  read.  "  Mf.  Cooke  replied :  "  St.  Paul's  Defence 
at  the  Tribunal  of  King  Agrippa,"  and  calling  for  the 
Bible  he  read  it.  Our  informant  states  it  was  certainly 
the  most  exquisite  piece  of  reading  he  ever  listened  to. 
The .  subsequent  visits  of  Mr.  Cooke  to  this  city  we 
shall  allude  to  in  this  record  according  to  their  data, 
and  will  briefly  close  this  sketch.  Cooke,  after  this, 
visits  Philadelphia,  and  while  there  sat  for  his  portrait 
to  Sully.  The  portrait  is  in  the  possession  of  the 
Academy.  It  represented  him  in  Richard.  He  per 
formed  sixteen  nights  in  Philadelphia,  and  the  total 
receipts  were  $17,360  32.  He  also  appeared  in  Balti 
more,  performing  with  Mr.  Cooper,  and  was  married 
to  Mrs.  Behn,  in  New  York,  on  the  20th  of  June. 
After  performing  several  engagements  in  the  principal 
northern  cities,  he  visited  Providence,  R.  L,  with  the 


RECORD    OF   THE    BOSTON    STAGE.  125 

Boston  company,  and  on  the  31st  of  July,  1812, 
performed  Sir  Giles  Overreach  to  a  house,  the  receipts 
of  which  were  $285,  —  his  last  appearance  on  any 
stage.  He  returned  to  New  York,  and  on  the  26th  of 
September,  1812,  the  great  tragedian  breathed  his  last, 
aged  fifty-seven  years  and  five  months!  Mr.  Cooke 
had  frequently  announced  his  intention  of  returning  to 
England,  but  his  career  was  terminated  through  the 
brutal  indulgence  of  his  love  of  drink,  and  his  genius 
and  talents  crushed  by  the  blighting  effect  of  that 
demon  who  obtains  oftentimes  the  strongest  hold  over 
those  who  are  the  most  brilliant  in  intellect. 

Those  who  recollect  Mr.  Cooke,  speak  of  him  in 
terms  of  the  highest  praise  ;  but  no  evidence  to  sub 
stantiate  his  claims  is  necessary,  for  the  man  who  could 
descend  from  the  pride  of  Glenalvon  to  the  sycophancy 
of  Sir  Pertinax,  who  could  assume  the  gentlemanly 
part  with  the  unmanly  conduct  of  Stukely,  and  abandon 
it  for  the  imposing  boldness  of  Pierre  —  who  could 
display  the  violent  transitions  of  Richard,  or  the  un 
willing  gradations  of  Macbeth,  must  have  been  the 
possessor  of  a  range  of  talent  as  great  as  its  power  was 
eminent.  We  are  told,  that  a  transient  view  of  this 
wonderful  performer  off  the  stage,  impressed  an 
observer  with  the  idea  that  he  could  not  be  an  actor. 
He  possessed  a  frame  neither  lofty  nor  graceful,  neither 
strong  nor  symmetrical ;  a  face  not  peculiarly  flexible, 
although  irradiated  by  an  eye  of  piercing  brightness  ;  a 
manner  rather  inelegant,  and  so  peculiar  that  it  appeared 
incapable  of  change  or  adaptation  to  variety  of  charac 
ter,  and  the  absolute  destitution  of  voice,  (for  all  his 
conversation  was  in  a  kind  of  whisper,)  were  circum- 


126  RECORD    OF   THE   BOSTON    STAGE. 

stances  which  would  seem  incompatible  with  versatility 
of  dramatic  exhibition.  Such  is  a  description  of  an 
actor  who  was  pronounced  to  be  "  the  true  disciple  of 
the  bard  who  dipped  his  pen  in  the  heart."  In  the 
Boston  Museum  there  is  a  wax  figure  of  Mr.  Cooke  in 
the  dress  in  which  Cooke  performed. 


CHAPTER   VIII. 

Cooke's  Last  Engagement  in  Boston.  —  Entwistle  and  Cooke  hors 
du  combat.  —  The  Burning  of  the  Richmond  Theatre.  —  The  War 
of  1812,  and  its  Effects  on  Theatricals.  —  Cooke  in  Providence.  — 
Anecdotes.  — The  Play  of  "A  New  Way  to  Pay  Old  Debts.— 
Commemoration  at  the  Boston  Theatre  of  the  Capture  of  the  Guer- 
riere  by  the  Constitution.  —  Mr.  and  Miss  Holman.  —  Sketch  of 
Holman.  —  "Timour  the  Tartar."  —  Commemoration  of  Perry's 
Victory  on  Lake  Erie.  —  Great  Fire  at  Portsmouth,  and  Benefit.  — 
Visit  of  Commodore  Perry  to  the  Theatre.  —  Anecdote  of  McKen- 
zie.  —  Visit  of  Commodore  Stuart  to  the  Theatre,  etc.,  etc. 

THE  theatre,  during  the  vacation  previous  to  the 
season  of  1811-12,  was  refitted.  A  new  stage  was 
built,  new  decorations  provided,  and  lamps  of  Ameri 
can  manufacture,  of  a  peculiar  structure,  were  intro 
duced.  On  Monday,  the  30th  of  December,  Mr. 
Cooke  was  announced  to  appear  and  play  his  farewell 
engagement,  prior  to  his  departure  for  Europe,  having 
at  that  time  engaged  his  passage  on  board  a  ship  which 
was  to  sail  from  this  port  to  England,  but  owing  to  a 


RECORD    OF   THE   BOSTON    STAGE.  127 

five  days'  gale  in  Long  Island  Sound,  he  was  detained, 
and  did  not  open  till  the  next  night.  The  receipts  of 
this  engagement  were :  — 

Tuesday,  Richard  HL, $761  37 

Wednesday,  Venice  Preserved,     .        .        .  593  87 

Friday,  Man  of  the  World,        ...  811  00 

Monday,    (Jan.  6,  1812,)      Henry  IV.,      .        .  703  62 

Wednesday,                              "       "      .        .        .  838  87 

Thursday,  Wheel  of  Fortune,    .        .        ."  736  50 

Friday,  Venice  Preserved,  and  Love  a  la  Mode,  854  25 

On  this  night  Mr.  Cooke  had  a  return  of  the  lowl 
complaint,  and  the  disease  proved  contagious,  for 
Entwistle  was  also  taken  with  it,  and  the  habit  clung  to 
him  till  death.  It  is  stated  that  Entwistle  committed 
suicide  in  New  Orleans.  He  took  a  dose  of  poison, 
and  then  went  to  his  room,  where,  with  a  bottle  of 
brandy  at  his  side,  and  a  cigar  in  his  mouth,  he  awaited 
the  certain  coming  of  death,  and  was  found  in  this 
position  after  the  fatal  drug  had  done  its  work.  Both 
were  so  badly  afflicted  in  the  evening  that  they  could 
not  retain  control  of  their  understandings,  and  were 
obliged  to  give  up  before  the  afterpiece  was  concluded. 
The  audience  hissed,  and  Cooke  retired  in  disgust  — 
his  kind  friends  stating  that  his  weakness  was  owing 
to  exposure  on  board  the  packet  on  his  passage  from 
New  York.  He  did  not  act  again  until  Monday,  the 
20th,  when  he  was  received  very  coldly,  and  as  it  will 
be  seen  the  houses  fell  off:  — 

Monday,  (Jan.  20th,)  Merchant  of  Venice,    .        .    $470  50 
Wednesday,     New  Way  to  Pay  Old  Debts,     .        .  417  62 

Thursday,        Revenge, 520  12 

Friday,  Richard, 704  75 

Monday,  Macbeth, 609  60 


128  RECORD    OF   THE   BOSTON    STAGE. 

Tuesday,  New  Way  to  Pay.Old  Debts,    .  .    451  50 

Wednesday,  Revenge,    .        .        .       .        .  .    365  37 

Friday,  Lear,     .        .        .        .        .        .  557  00 

Monday,  Othello,     .        .        .        .      V  .    376  25 

Wednesday,  Merchant  of  Venice,     .        .        .  658  37 

Thursday,  Lear, 573  75 

Friday,  Macbeth,  (Benefit,)      .        .        .  .     696  25 

Mr.  Cooke  received  for  his  share  of  this  engagement 
of  nineteen  nights,  $3,200. 

The  memorable  conflagration  of  the  Richmond  (Va.) 
Theatre,  causing  its  entire  destruction,  and  the  immense 
loss  of  life,  which  occurred  on  the  26th  of  December, 
1811,  just  previous  to  Cooke's  second  visit  to  this  city, 
must  claim  a  passing  note.  Mr.  Cooke  was,  in  a 
measure,  the  cause  of  this  sad  catastrophe.  The  thea 
tre  would  have  been  closed  several  weeks  previous,  but 
Mr.  Cooke  was  engaged  to  appear  there  and  it  was 
kept  open,  when  the  eccentric  tragedian,  though  a  car 
riage  was  in  waiting  at  New  York  to  transport  him 
thither,  took  a  fancy  that  he  would  visit  Boston,  and 
thus  disappointed  them.  On  the  night  of  the  destruc 
tion  of  this  theatre  a  new  play  and  pantomime  was 
advertised  for  the  benefit  of  Mr.  Placide,  and  the  enter 
tainments  attracted  an  audience  of  seven  hundred. 
The  play  and  the  first  act  of  the  pantomime  went  off — 
the  second  act  had  begun,  when  from  -some  mismanage 
ment  of  the  lights,  a  portion  of  the  scenery  took  fire, 
and  sparks  fell  upon  the  stage.  A  portion  of  the  audi 
ence  conceived  this  to  be  a  part  of  the  performances, 
while  others  started,  but  were  reassured  when  it  was 
announced  from  the  stage  that  there  was  no  danger. 
But  the  flames  spread  more  rapidly  than  the  performers 
could  detach  the  scenery,  and  finding  all  attempts  fruit- 


RECORD    OF    THE    BOSTON    STAGE.  129 

less,  it  was  announced  that  the  house  was  on  fire.  Those 
in  the  pit  and  gallery  succeeded  in  making  their  escape,, 
but  those  in  the  boxes  became  panic-struck,  and  rushed 
for  the  stairway,  which  was  very  narrow,  and  was 
almost  instantaneously  blocked  up  with  human  beings.. 
One  or  two  in  the  rush  were  thrown  into  the  pit,  and 
from  thence  found  easy  exit.  In  two  minutes  after  the 
alarm  was  given,  the  whole  audience  were  enveloped 
in  hot,  scorching  smoke  and  flame.  The  lights  were 
extinguished  by  the  black  smothering  vapor.  Those 
who  had  gained  the  outside  implored  the  sufferers  to 
leap  from  the  windows,  and  many  did  so,  though  they 
were  severely  injured.  The  alarm  soon  became  known 
in  the  city,  and  mothers  and  fathers,  relatives  and 
friends,  at  once  repaired  to  the  spot  to  seek  out  sons 
and  daughters,  parents  and  relations.  But  who  can 
picture  the  distress  of  those,  who,  unable  to  gain  the- 
windows  or  afraid  to  leap  from  them,  were  pent  up  in 
the  long  narrow  passages,  suffocating  by  the  smoke,  or 
writhing  in  agony  in  the  flames  ?  Several,  who  emerged; 
from  the  building,  were  so  much  scorched  that  they 
perished,  while  many  others  were  crushed  under  foot 
after  getting  outside  of  the  door.  But  we  will  not 
dwell  upon  a  scene  of  such  destruction,  nor  relate 
instances  of  peculiar  grief.  Seventy-one  persons  in  all 
were  either  suffocated  or  burnt  to  death  that  night.  On 
the  27th,  business  was  suspended  in  Richmond,  banks 
and  stores  were  closed,  and  a  law  was  passed  prohibit 
ing  amusements  of  every  kind  for  the  term  of  four 
months.  The  following  Wednesday  was  set  apart  for  a 
day  of  humiliation  and  prayer,  and  in  many  of  the 
9 


130  RECORD    OF    THE    BOSTON    STAGE. 

cities  of  the  Union  religious  services  were  holden, 
while  the  citizens  were  mourning  for  thirty  days. 

Before  the  close  of  the  season  of  1S13,  Master  John 
Howard  Payne  again  appeared  at  the  Federal  Street 
Theatre  with  success. 

The  formal  declaration  of  war  with  Great  Britain, 
•made  by  the  United  States  on  the  18th  of  June,  1812, 
caused  by  British  excesses  in  violating  the  American 
flag  on  the  great  highway  of  nations,  the  impressment 
of  American  seamen,  and  other  harassing  measures 
adopted  by  England,  threatened  to  dim  the  prospects  of 
theatrical  operations.  In  times  of  great  excitement, 
the  public  mind  is  too  occupied  to  pay  much  attention 
to  the  stage,  and  consequently  in  seasons  of  political 
contest,  or  time  of  war,  the  theatre  is  apt  to  be  deserted. 

In  the  summer  vacation  of  1812,  Messrs.  Powell 
and  Dickson  engaged  Cooke  to  appear  in  Providence, 
prior  to  his  intended  departure  for  England.  On  the 
13th  of  July  the  great  actor  commenced  an  engagement 
at  Providence,  where  he  opened  as  Shylock.  He  was 
remarkably  steady  and  regular  in  his  habits,  never  once 
failed  to  perform  when  announced,  and  some  nights  it 
was  thought  that  he  acted  better  than  he  had  ever  done 
in  Boston.  On  one  occasion,  Cooke,  to  oblige  his  friend 
Colonel  Blodgett,  of  Providence,  consented  to  play 
Falstaff,  which  is  a  somewhat  arduous  undertaking  in 
the  heat  of  summer.  Just  prior  to  the  rising  of  the 
curtain,  a  heavy  thunder-shower  occurred,  and  very 
few  had  gathered  to  witness  the  performance.  Mr. 
Cooke  looked  at  the  empty  benches,  and  then  address 
ing  the  manager,  said,  "  What  shall  we  do  ?  postpone 


RECORD    OF    THE    BOSTON    STAGE.  131 

the  play  ?  "  "  Oh  no ;  that  is  not  according  to  the  rule 
of  the  Boston  Theatre ;  we  always  play,  good  houses 
or  poor  houses,"  was  the  reply.  "  Why,"  said  Cooke, 
"there  are  not  twenty  dollars  in."  "  The  Boston  The 
atre  has  been  opened,  and  the  whole  performance 
given,  when  there  were  only  nine  dollars  in  the  house," 
replied  the  manager.  "  Well,  then,  we  will  play,"  said 
Cooke.  Before  the  curtain^  went  up,  the  single  public 
hack,  which  Providence  then  possessed,  had  made  re 
peated  calls  at  the  theatre,  delivering  its  closely-packed 
occupants,  till  the  house  was  well  filled.  Cooke's  en 
gagement'  concluded,  as  we  stated  with  Sir  Giles  Over 
reach,  his  last  performance  on  any  stage. 

The  play  of  «  A  New  Way  to  Pay  Qld  Debts  "  will 
ever  be  memorable,  from  the  fact  that  the  great  Cooke 
closed  his  theatrical  career  with  the  impersonation  of 
Sir  Giles.  This  drama  has  been  considered  one  of  the 
finest  of  the  ancient  stage,  and  possesses  so  many  feat 
ures  of  merit,  that  it  has  retained  its  position  among 
the  popular  acting  dramas  for  upwards  of  two  hundred 
years.  The  author,  Philip  Massinger,  was  an  unfor 
tunate  poet,  whose  life  was  spent  in  obscurity  and 
poverty,  and  who  dying  in  1640,  almost  unknown,  was 
buried  with  no  other  inscription  than  the  melancholy 
note  in  the  parish  register  of  Bankside,  South  wick, 
"Philip  Massinger,  a  stranger"  He  wrote  a  great 
number  of  pieces,  of  which  eighteen  have  been  pre 
served.  The  "Virgin  Martyr,"  the  "Bondman,"  the 
"  Fatal  Dowry,"  the  "  City  Madam,"  and  the  "  New 
Way  to  Pay  Old  Debts,"  are  the  best  known  of  his 
productions.  In  the  production  of  the  "  Virgin  Mar 
tyr  "  he  was  assisted  by  Decker,  who  had  considerable 


132  RECORD    OF    THE    BOSTON    STAGE. 

poetical  enthusiasm,  which  enabled  him  to  beautify  many 
scenes,  and  supply  Massinger's  deficiency  in  this  re 
spect.  The  "  Fatal  Dowry "  was  also  the  joint  pro 
duction  of  Massinger  and  Nathaniel  Field,  and  in  con 
nection  with  Middleton,  Rowley,  he  produced  "The 
Old  Law."  The  comedy  of  "A  New  Way  to  Pay 
Old  Debts  "  was  produced  prior  to  the  year  1633,  when 
it  was  first  printed  in  quarto  :  the  title-page  stating  it 
to  have  been  "  oft  acted  at  the  Phoenix  in  Drurie-lane, 
by  the  queen's  majesty's  servants."  The  scene  is  laid 
in  the  country  near  Nottingham,  and  the  time  of  its 
action  may  be  supposed  to  occupy  about  five  days. 
The  powerful  character  of  Sir  Giles  Overreach,  is 
shown  by  Gilford  to  have  been  probably  copied  from 
nature,  together  with  the  parts  of  Justice  Greedy  and 
Marrall;  the  originals  being  called  Sir  Giles  Mompes- 
son,  one  Michel,  a  poor  mean  justice,  and  his  clerk. 
About  1621,  Jame  I.  had  granted  to  the  two  former 
a  patent  for  the  manufacture  of  gold  and  silver  lace, 
which  they  perverted  by  adulterating  the  metals  "  with 
copper,  and  sophistical  materials,"  which  produced  the 
most  deadly  effects.  "  Sir  Giles,"  continues  Wilson,  in 
his  Life  and  Reign  of  James  I.,  "  had  fortune  enough 
in  the  country  to  make  him  happy,  if  that  sphere  could 
have  contained  him ;  but  the  vulgar  and  universal  error 
of  satiety,  with  present  enjoyments,  made  him  too  big 
for  a  rusticall  condition ;  and  when  he  came  to  Court,  he 
was  too  little  for  that ;  so  that  some  novelty  must  be 
taken  up  to  set  him  in  equilibrio  to  the  place  he  was 
in,  no  matter  what  it  was,  let  it  be  never  so  pestilent 
and  mischievous  to  others,  he  cared  not,  so  he  benefited 
by  it." 


RECORD    OF   THE   BOSTON    STAGE.  133 

Massinger  had  not  (remarks  Charles  Lamb)  the  high 
er  requisites  of  his  art  in  any  thing  like  the  degree  in 
which  they  were  possessed  by  Ford,  Webster,  Tourneur, 
Hey  wood,  and  others.  He  never  shakes  or  disturbs  the 
mind  with  grief.  He  is  read  with  composure  and  pla 
cid  delight.  He  wrote  with  that  equability  of  all  the  pas 
sions,  which  made  his  English  style  the  purest  and  most 
free  from  violent  metaphors  and  harsh  constructions,  of 
any  of  the  dramatists  who  were  his  contemporaries. 

Henderson  appeared  as  Sir  Giles,  at  Covent  Gar 
den  in  1781.  J.  P.  Kemble  also  sustained  the  part 
with  very  considerable  talent;  but  perhaps  Edmund 
Kean  first  performed  it  with  absolute  perfection,  at 
Drury  Lane,  January  12,  1816.  He  acted  it  in  his 
very  best  style  :  he  kept  close  to  the  character,  and  in 
dulged  himself  in  few  or  none  of  those  freaks  or  relax 
ations  of  manner,  into  which  he  occasionally  broke  in 
his  other  parts,  and  injured  their  integrity.  His  per 
formance  was  vigorous,  true,  uniform,  and  complete ; 
and  the  conclusion  was  as  terrific  as  any  thing  that  has 
been  seen  upon  the  stage.  It  threw  ladies  in  the  side 
boxes  into  hysterics,  and  Lord  Byron  himself  into  a 
"  convulsion  fit."  One  veteran  actress  was  so  over 
powered,  by  the  last  dying  speech,  that  she  absolutely 
fainted  upon  the  stage.  Kean  performed  Sir  Giles 
seventeen  nights  before  the  9th  of  March. 

Of  later  years,  Booth  and  Brooke  have  both  per 
formed  this  part  with  marked  vigor,  and  though  both 
lacked  voice,  their  impersonations  have  commanded  the 
admiration  of  those  who  remember  the  performances  of 
Cooke  and  Kean.  Booth  excelled  in  the  scene  where 
Sir  Giles  communicates  to  Level  his  ambitious  aspira- 


134       RECORD  OF  'THE  BOSTON  STAGE. 

tions,  and  his  desire  to  have  his  daughter  right  honora 
ble.  Brooke  was  truly  great  in  the  last  scene,  which 
is  regarded,  we  believe,  by  all,  as  the  finest  display  of 
histrionic  genius  witnessed  in  modern  times  upon  the 
Boston  stage. 

The  regular  season  at  the  Boston  Theatre  commenced 
on  the  28th  of  September.  The  prices  of  admission 
were,  boxes,  $1 ;  green  boxes,  75  cents ;  pit,  50  cents; 
gallery,  37  1-2  cents.  Among  the  new  comers  were 
Mr.  Warring,  from  England,  Mr.  Spiller,  and  Mrs. 
Wheatley,  from  London  and  Bath,  Mr.  and  Mrs. 
Chas.  Young,  from  New  York.  In  the  early  days  of 
the  theatre,  every  public  event  of  sufficient  importance 
was  immediately  dramatized,  and  during  the  progress 
of  the  war,  the  spirit  was  kept  up  by  the  frequent  pro 
duction  of  pieces  in  honor  of  our  naval  victories.  On  the 
19th  of  August  the  capture  of  the  British  frigate 
Guerriere,  under  the  command  of  Captain  Dacres,  by 
the  American  frigate  Constitution,  commanded  by 
Captain  Hull,  took  place  off  the  Grand  Bank  of  New 
foundland.  Intelligence  of  the  result  reached  Boston 
in  the  evening,  during  one  of  Cooper's  engagements. 
Although  a  Briton  born,  Mr.  Cooper  rejoiced  in  the 
success  of  his  adopted  country,  and  suggested  to  the 
manager  that  the  audience  should  be '  informed  of  the 
victory.  Mr.  Powell,  who  was  a  naturalized  citizen, 
announced  the  capture  to  the  audience.  There  was  a 
perfect  hurricane  of  enthusiasm ;  the  National  Air  was 
called  for  and  repeated  again  and  again  amid  prolonged 
applause.  The  news  was  received  by  the  public  with 
every  manifestation  of  delight,  and  on  the  2d  of  Octo 
ber,  a  patriotic  effusion,  entitled  "the  Constitution  and 


RECORD    OF    THE    BOSTON    STAGE.  135 

Guerriere "  was  brought  out  at  the  theatre.  The 
principal  characters  were  sustained  by  Messrs.  Dick- 
son,  Entwistle,  Drake,  Roberston,  Spiller,  Young,  War 
ring,  Miss  Dellinger,  etc.  In  the  course  of  the  enter 
tainment  the  following  scenery,  incidents,  etc.,  occurred : 

SCENE  1st.  State  street.  Huzza  for  the  Constitu 
tion.  SCENE  3d.  Cabin  of  the  ship.  Song,  A  Cruis 
ing  we  will  go.  Duett,  Conquer,  or  die.  The  Guerriere 
is  seen  through  the  cabin  window  under  sail  —  orders  are 
given  to  clear  the  ship  for  action,  and  scene  changes  to  a 
view  of  the  ocean.  The  Guerriere  is  seen  under  easy 
sail  and  the  Constitution  in  chase.  The  action  com 
mences  —  the  mizzenmast  of  the  Guerriere  goes  by 
the  board  —  the  action  continues  and  the  Guerriere 
loses  her  foremast  and  mainmast  —  fires  a  gun  to  the 
leeward  and  surrenders  to  the  Constitution.  SCENE 
last.  State  street.  American  officers,  sailors,  and 
marines  enter  with  American  colors,  and  the  piece 
concluded  with  a  song  and  chorus,  called  the  "  Good 
Ship  Columbia." 

After  an  absence  of  ten  years,  half  of  which  had 
been  spent  in  England,  the  celebrated  Mrs.  Whitlock 
reappeared,  opening  as  Isabella.  She  performed  eight 
nights,  and  received  $581.43.  During  her  absence 
she  had  ample  opportunity  of  constant  critical  scrutiny, 
and  returned  much  improved  as  an  actress.  Mr.  "VVhit- 
lock  also  appeared.  He  was  thought  to  be  one  of  the 
best  actors  in  America  in  his  particular  line,  the  father 
in  tragedy  and  serious  comedy. 

On  the  2d  of  January,  Mr.  Holman,  with  his  daugh 
ter,  Miss  Holman,  afterwards  Mrs.  Gilfert,  appeared. 
They  had  been  performing  in  New  York  and  Phila- 


136  RECORD    OF    THE    BOSTON    STAGE. 

delphia  with  great  success.  Miss  Holman  made  her 
first  appearance  on  the  following  Wednesday  as  Lady 
Townley,  in  which  she  was  eminently  successful.  She 
also  played  Belvidera  to  her  father's  Jaffier,  and  Calista, 
in  the  "  Fair  Penitent,"  to  her  father's  Horatio. 

Mr.  Joseph  G.  Holman  was  of  very  respectable 
family,  having  descended  from  Sir  John  Holman, 
Baronet.  He  received  the  rudiments  of  his  education 
under  Dr.  Barrow,  London,  who  in  order  to  improve 
his  pupils  in  oratory,  had  theatrical  exhibitions  during 
the  Christmas  holidays.  In  the  year  1778,  at  one  of 
these  private  theatrical  entertainments,  which  have  ever 
been  fruitful  in  developing  histrionic  talent,  young  Hoff 
man  performed  the  part  of  Jfamlet,  and  was  so  success 
ful  that  soon  after  he  embraced  the  profession,  though 
intended  for  the  Church.  He  made  his  first  appear 
ance  on  the  public  stage  in  the  character  of  Romeo  at 
Covent  Garden  Theatre,  in  1784.  His  debut  was  not 
remarkable.  He  possessed  a  fair  share  of  talents,  noth 
ing  more,  but  aware  of  his  imperfections,  he  studied 
hard  to  amend  them,  and  rose  rapidly  to  the  first  rank 
;as  a  tragedian.  He  afterwards  visited  Dublin  and 
Edinburgh,  and  met  with  but  partial  success.  In  1798, 
lie  married  the  youngest  daughter  of  the  Hon.  and 
Hev.  Frederick  Hamilton,  who  died  in  1810. 

He  returned  to  London  in  1812,  and  appeared  at  the 
Summer  Theatre,  in  the  Haymarket,  several  nights,  in 
.Jaffier  to  his  daughter's  Belvidera.  He  was  also  at  the 
.same  time  engaging  performers  for  the  theatre  at 
^Charleston,  which  proved  an  unprofitable  speculation, 
.and  there  he  took  the  prevalent  fever.  He  returned  to 
JSTew  York  and  died  at  Rockaway,  Long  Island,  of 


RECORD    OF   THE    BOSTON    STAGE.  137 

apoplexy,  on  the  24th  of  August,  1817,  in  his  fifty-third 
year.  Mr.  Holman  married  Miss  Lattimer  two  days 
previous  to  his  death. 

Mr.  Holman  possessed  a  considerable  transatlantic 
reputation,  having  maintained  a  powerful  rivalship  with 
Kemble,  and  there  were  critics  who  pronounced  him 
even  superior  to  that  great  actor,  in  Hamlet,  in  which 
part  he  opened  in  Boston.  He  was  distinguished  as  a 
gentleman  and  a  scholar,  having  contributed  to  the 
dramatic  literature  of  the  day,  and  by  the  urbanity  of 
his  manners  and  force  of  his  talents,  greatly  exalted  the 
character  of  his  profession.  While  in  America  he 
attempted  to  enlarge  the  dramatic  taste  in  Albany,  but 
like  others  who  have  attempted  the  same  fruitless  task, 
the  city  even  now  (1852)  boasting  only  an  apology  for 
a  theatre,  he  reaped  but  meagre  pecuniary  reward. 
The  father  and  daughter  performed  eighteen  nights  to 
genteel  and  fashionable  houses  in  this  city,  and  received 
for  their  joint  services  $2,150. 

The  principal  of  Mr.  Hohnan's  writings  for  the  stage 
were  "Abroad  and  at  Home,"  "The  Red  Cross 
Knights,"  "The  Votary  of  Wealth,"  "What  a  Blun 
der,"  "  Love  gives  the  Alarm,"  and  the  "  Gazette 
Extraordinary." 

Mr.  Cooper  made  his  annual  visit  and  opened  in 
Macbeth  to  $534.50  ;  he  acted  ten  nights.  The  theatre 
was,  as  usual  during  his  engagement,  well  attended. 
He  received  for  his  services  $1,878.62.  The  theatre 
was  closed  during  the  season,  to  give  time  for  the  pre 
paration  of  "  Timour  the  Tartar,"  which  was  performed 
on  the  15th  of  March  to  $779.12,  and  was  acted  six 
successive  nights  to  good  houses,  and  occasionally  during 


138       RECORD  OF  THE  BOSTON  STAGE. 

the  rest  of  the  season.  Mr.  Dwyer  made  an  engage 
ment  for  six  nights,  but  failed  in  attraction. 

On  the  9th  of  April,  the  crew  of  the  United  States 
Frigate  Constitution  attended  the  theatre,  on  which  oc 
casion  it  was  brilliantly  illuminated. 

During  the  summer  of  1813,  the  unfortunate  engage 
ment  between  the  Chesapeake  and  Shannon,  which  oc 
curred  June  1st,  occupied  the  attention  of  the  citizens, 
to  the  exclusion  of  all  other  matters. 

The  proprietors  of  the  theatre  gave  the  interior  of 
the  building  a  refitting.  The  entire  front  of  the  stage, 
pilasters,  balconies,  etc.,  were  newly  painted  and  richly 
ornamented.  On  the  outside  of  the  green  curtain  was 
a  full  length  figure  of  the  "  Tragic  Muse,"  and  on  the 
other  side  of  the  stage  the  "  Comic  Muse  "  was  seen. 
Shortly  after  the  opening  of  the  theatre,  which  occurred 
on  the  4th  of  October,  1813,  on  which  occasion  we 
notice  the  accession  of  Mr.  McFarland,  an  able  delinea 
tor  of  Irish  character,  Mr.  Hughes,  Mr.  Stockwell, 
father  to  the  present  scenic  artist,  Sam.  B.  Stockwell, 
another  piece  in  commemoration  of  a  naval  victory  was 
celebrated  at  the  theatre  by  the  production  of  a  play 
called  "  Heroes  of  the  Lake,  or  the  Glorious  Tenth  of 
September,"  written  to  commemorate  the  brilliant  vic 
tory  of  the  youthful  Perry,  who  then  only  twenty-eight 
years  of  age,  had  achieved  the  famous  victory  on  Lake 
Erie,  memorable  in  our  annals,  and  associated  in  our 
recollections  with  his  laconic  announcement  to  General 
Harrison,  "  "We  have  met  the  enemy,  and  they  are 
ours."  The  piece  had  a  temporary  popularity,  and 
fully  answered  the  ends  for  which  it  was  written.  It 
was  in  December  of  this  year  that  the  third  great  fire, 


RECORD    OF    THE    BOSTON    STAGE.  139 

which  had  occurred  within  eleven  years,  destroying 
almost  the  town  of  Portsmouth,  N.  H.,  took  place.  The 
ground  burnt  over  was  nearly  fifteen  acres  in  extent, 
and  over  a  hundred  dwelling-houses,  sixty-four  public 
buildings  besides  shops,  etc.,  were  destroyed.  Aid  in 
extinguishing  the  fire  was  even  rendered  by  residents 
of  Newburyport.  The  managers  of  the  Boston  Thea 
tre,  with  their  customary  generosity,  at  once  offered  a 
benefit  to  help  the  sufferers,  which  resulted  in  obtain 
ing  the  handsome  sum  of  $632.00.  After  a  short 
season,  during  which  Cooper  and  Mr.  and  Miss  Holm  an 
re-appeared,  the  theatre  closed,  but  re-opened  again  on 
the  9th  of  May,  when  Commodore  Perry,  the  hero  of 
Lake  Erie,  visited  the  city,  and  an  appropriate  perform 
ance  was  given,  consisting  of  the  "  Sailor's  Daughter," 
(Cumberlands's  comedy,)  "  Naval  Fete,"  "  Patriotic 
Songs,"  etc.  It  was  on  the  occasion  of  Perry's  visit  to 
Boston,  that  the  citizens  tendered  him  a  public  dinner. 
He  was  escorted  to  the  hall  by  the  Rangers,  Winslow 
Blues,  New  England  Guards,  and  Boston  Light  Infan 
try,  commanded  respectively  by  Capts.  Rice,  Parker, 
and  Sullivan,  and  Lieut.  King,  all  under  the  command 
of  Col.  Sargent  of  the  B.  L.  I.  At  the  dinner,  odes, 
written  by  Charles  Sprague,  John  Lathrop,  Jr.,  and 
John  Pierpoint,  were  delivered.  Commodore  Perry 
was  shown  every  civility,  and  a  handsome  service  of 
plate  was  presented  to  him. 

In  March,  1814,  Alexander  Eustapheve,  Esq.,  pro 
duced  his  play  of  "  Alexis,"  which  was  well  received 
and  performed  three  nights,  the  last  being  for  the 
author's  benefit.  Mrs.  Powell  and  Mrs.  Darley  sus 
tained  the  principal  female  characters. 


140  RECORD    OF    THE    BOSTON    STAGE. 

The  season  of  1814-15  was  not  remarkable  for  any 
very  noted  feature.  Mr.  McKenzie,  Mr.  and  Mrs. 
Bray,  Mr.  Savage,  Mr.  W.  Jones,  and  Mr.  Fennell,  Jr., 
•were  among  the  new  performers.  Mr.  McKenzie,  a 
Scotchman  by  birth,  was  a  very  good  actor  in  heavy 
tragedy.  Michael  Ducts  in  "  Adelgitha,"  and  similar 
characters  were  suited  to  his  talent.  Like  many  others, 
he  was  too  fond  of  putting  an  enemy  into  his  mouth, 
and  was  more  than  once  discharged  for  indulging  in 
this  vice.  Confined  to  his  room,  owing  to  his  indul 
gence,  he  sent  for  a  physician,  who  seeing  his  condition, 
wrote  as  a  receipt,  "  Water  —  use  it  freely."  McKen 
zie,  glancing  at  it,  exclaimed,  "  Why,  Doctor,  water 
will  be  the  death  of  me,"  and  sure  enough  it  was,  for 
the  last  that  was  seen  of  him  alive,  was  walking  towards 
the  Back  Bay,  where  his  body  was  found  after  he  had 
been  missing  several  day.  The  theatre  was  beautifully 
fitted  up,  and  was  pronounced  superior  to  any  theatre 
in  the  United  States.  The  treaty  of  peace,  at  Ghent, 
made  on  the  24th  of  December,  1814,  and  ratified  by 
the  President  on  the  18th  of  February,  1815,  was  cele 
brated  in  Boston  on  the  22d  of  the  same  month.  At 
the  theatre  the  stage  was  elegantly  decorated  with 
transparencies,  emblems,  mottoes,  etc.  Songs  were  sung 
commemorating  the  event,  among  which  was  "  Wreaths 
for  the  Chieftain  we  Honor,"  written  by  L.  M.  Sargent, 
Esq.,  the  music  composed  by  Mr.  Bray.  A  triple 
Allemande  with  flags,  then  a  popular  dance,  was  given 
by  Mr.  Jones,  Mrs.  Bray,  and  Miss  Stockwell.  The 
latter  lady  will  be  better  known  when  we  mention 
that  Miss  Stockwell  is  now  Mrs.  George  H.  Barrett, 


RECORD    OF    THE    BOSTON    STAGE.  141 

who  has  delighted  the  audiences  at  the  Museum  and 
National  Theatre  of  late  yeaVs. 

On  Easter  Monday,  in  1815,  «  The  Ethiop,  or  the 
Child  of  the  Desert,"  was  brought  out  for  the  first 
time.  The  scenic  artist,  Worrall,  had  exerted  himself, 
and  produced  some  scenes  which,  from  the  description, 
we  doubt  if  they  have  been  equalled  in  our  city.  The 
play  had  a  good  run,  and  gave  way  to  Mr.  Bibby,  an 
amateur  actor  from  New  York,  where  he  had  been  suc 
cessful  in  acting  imitations  of  Cooke,  to  such  a  degree 
of  perfection,  that  it  was  difficult  to  believe  the  great 
actor  was  not  on  the  stage.  His  Richard  was  admi 
rable. 

The  return  of  the  Constitution  frigate  to  Boston, 
called  forth  another  of  those  productions,  which,  written 
at  short  notice,  generally  filled  the  treasury.  Captain 
Stewart  was  escorted  to  his  hotel  by  the  Independent 
Boston  Fusileers  and  Winslow  Blues,  and  in  the  even 
ing  visited  the  theatre,  when  "  The  Sailor's  Return,  or 
Constitution  safe  in  Port,"  was  performed.  These 
pieces  had  little  incident,  and  less  connecting  plot,  but 
consisted  of  songs  and  dances,  interspersed  with  patriotic 
dialogues,  calculated  to  thrill  the  heart  of  all  "  true 
Americans."  Of  course  they  took  well. 


142  RECORD    OF    THE    BOSTON    STAGE. 


CHAPTER    IX, 

Early  Circuses.  —  Pepin  &  Breschard.  —  Anecdote.  —  Mrs.  Mes- 
tayer.  —  Gas  Lights.  —  Mrs.  Moore.  —  Mrs.  Williams.  — Guy  Man- 
nering. —  Mr.  Pelby. — Frederick  Brown.  —  Hilson.  —  Charles  Incle- 
don. —  Several  Anecdotes  of  him.  —  His  last  Song.  —  Mr.  Phillips.  — 
Mrs.  Powell.  —  Early  Criticisms.  —  Puffery,  etc.,  etc. 

IN  the  month  of  July,  1815,  Mr.  J.  H.  Shaffer 
announced  a  grand  concert  at  Vauxhall,  Washington 
Garden. 

We  have  not  in  this  record  alluded  to  the  various 
circuses,  and  other  minor  entertainments  which  were 
given.  The  first  regular  circus  of  which  we  find  any 
note  was  established  by  Messrs.  Pepin  &  Breschard,  in 
Charlestown,  in  1809.  These  persons  were  French 
men,  and  the  number  and  splendor  and  training  of  their 
stud,  were  a  perpetual  source  of  admiration  and  wonder. 
Pepin,  the  leader,  is  described  as  one  who  was  deserv 
ing  of  his  great  name,  and  the  account  says  :  — 

"  Whether  on  foot  or  on  horseback,  he  showed  the 
port  of  a  king.  No  Pepin  of  France  that  ever  rode 
into  Paris  with  his  doughty  Austrasians,  could  have 
claimed  greater  homage  than  our  martial  equestrian  as 
he  brought  up  the  rear  of  his  glittering  troop,  he  him 
self  in  the  costume  of  a  Gallic  field-marshal.  Pepin 
differed,  however,  from  his  royal  precursors  in  one 
great  respect — he  had  rather  more  brains;  and  both 
in  ruling  his  state  and  staving  off  revolutions,  showed 
a  firmness  and  skill  that  grander  heads  might  have 


RECORD    OF    THE    BOSTON    STAGE.  143 

copied.  It  is  with  his  dignity,  however,  that  I  am 
chiefly  concerned ;  his  sustaining  belief  in  the  paramount 
importance  of  his  own  noble  art,  which,  as  illustrated 
in  an  occurrence  I  have  already  referred  to,  I  may  be 
allowed  to  append. 

"Pepin  on  one  occasion  had  sent  his  troop  on  to 
Boston  for  a  summer's  campaign,  he  remaining  at  New 
York  to  complete  other  arrangements ;  but  some  mis 
fortune  occurring,  which  required  his  presence,  he  set 
off  on  horseback  to  join  his  confederates.  Unluckily, 
however,  he  reached  a  town  in  Connecticut  on  Saturday 
night,  and  of  course  was  told  he  must  rest  all  the  fol 
lowing  day.  He  started  at  this  order,  and  could  only 
ascribe  it  to  the  most  pitiable  ignorance  of  himself  and 
his  object.  These  good  people  were  not  aware  that  he 
was  required  to  reach  Boston  for  the  Monday's  perform 
ance  ;  that  the  circus  could  not  possibly  open  without 
him ;  to  yield,  therefore,  was  not  only  a  wrong  to  the 
public,  but  a  gross  disrespect  to  his  own  proper  dignity. 
Accordingly,  next  morning,  arrayed  in  his  regimentals, 
he  took  his  horse  from  the  stable,  (finding  no  one  else 
would,)  and  paying  his  bill,  continued  his  journey.  A 
few  miles  were  managed  in  perfect  security,  but  among 
the  buildings  he  passed,  at  length  towered  a  meeting 
house,  and  the  clatter  of  his  gallop  drawing  the  deacons 
to  the  door,  he  was  summoned  to  alight  in  no  faltering 
tones ;  but  the  right  royal  Pepin's  was  no  soul  for  sub 
mission.  Scarcely  viewing  the  '  Imbeciles,'  he  only 
answered  so  far  as  to  wave  them  away  with  a  calm  air 
of  contempt.  The  deacons,  enraged,  ran  at  once  to 
their  steeds,  and  king  Pepin  soon  found  that  these  peo 
ple  could  ride.  Confiding,  however,  in  the  power  of 


144  EECORD    OF    THE    BOSTON    STAGE. 

his  horse,  he  smiled,  as  he  believed,  at  their  impotent 
fury ;  but  our  hero  had  to  learn  that  it  takes  much  to 
wear  out  a  Connecticut  ponej,  especially  with  a  deacon 
and  a  cudgel  above  him;  and  the  consequence  was, 
that  after  a  pretty  sharp  chase,  his  majesty  of  the  saw 
dust  was  fairly  run  down  and  gripped  by  a  set  of  as 
resolute  muscles  as  ever  outraged  the  robes  of  unfortu 
nate  station.  He  was  captured ;  but  still  had  an  un- 
conquered  soul  that  coverted  his  fall  into  a  species  of 
triumph.  He  succumbed  after  the  style  of  a  Boufflers 
or  Villars.  Extending  his  sword  to  his  captors,  with  a 
graceful  wave  of  his  hat  —  *  Messieurs,'  he  exclaimed, 
'  La  fortune  de  la  guerre — Jest  le  votre  voila,'  which 
the  deacons  replied  to  with  a  very  natural  stare,  and  a 
'  guess  we  don't  want  to  fight  you,  you  wild  wicked 
crittur  —  come  back  to  meetin'.  Upon  which,  turning 
his  horse  southward,  they  led  him  off  at  full  trot,  and, 
on  reaching  the  chapel,  conducted  their  prisoner  to  a 
conspicuous  seat,  where,  whilst  the  pastor  enlarged 
upon  the  guilt  he  had  committed,  king  Pepin  received 
the  fixed  stare  of  the  assembly,  as  their  unrestrained 
homage  to  overthrow  dignity !  " 

Equestrian  performances  had  also  been  given  at  vari 
ous  other  places,  at  the  Washington  Gardens,  and  at 
one  of  these  establishments  at  the  bottom  of  the  Com 
mon.  Mrs.  Mestayer,  in  1815,  astonished  the  citizens  by 
dancing  on  the  wire,  she  being  the  first  lady  that 
trusted  herself  in  this  city  upon  so  brittle  a  foundation. 
Among  other  exhibitions  which  received  attention  from 
their  peculiarity,  the  following  notice  taken  from  the 
Gazette  of  November  30,  1815,  gives  an  account.  We 
copy  it  as  it  appears :  — 


RECORD    OF    THE    BOSTON    STAGE.  145 

The  Gas-Lights  which  are  to  be  exhibited  at  the  Boylston  Museum, 
this  evening,  (Thanksgiving,)  will  be  an  interesting  curiosity  to  those 
who  are  unacquainted  with  chemistry,  as  the  lights  will  be  burnt 
upwards  of  one  hundred  feet  from  the  reservoir  which  contains  the 
gas,  without  the  aid  of  tallow,  oil,  or  wick.  We  understand  that  the 
streets  of  the  city  of  London  are  lighted  with  this  gas  in  various 
directions  for  upwards  of  fifteen  miles. 

Such  an  announcement  cannot  fail  to  cause  a  smile. 
The  editor  in  assuring  his  readers  that  neither  "  tallow,, 
oil,  oi*  wick,"  were  used,  undoubtedly  excited  the  im 
agination  of  his  readers.  But  in  those  days,  the  erec 
tion  of  gasometers,  and  the  use  of  gas  were  not  known, 
and  the  theatres  then  did  not  appear  as  now  like  so 
many  illuminated  palaces,  but  were  lighted  by  oil,  and 
dimly  lighted  at  that.  It  was,  we  believe,  in  1815, 
that  Covent  Garden  Theatre  in  London  was  first 
lighted  by  gas. 

In  1816,  two  actresses  of  merit  made  their  appear 
ance.  Mrs.  Moore,  formerly  Mrs.  Woodham,  who  has 
many  descendants,  highly  respected  in  society,  still 
living  in  this  city,  was  an  interesting  actress,  and  her 
Lady  Teazle  was  an  admirable  impersonation.  The 
second  lady  was  Mrs.  Williams  from  the  Theatre 
Royal,  Drury  Lane,  who  was  a  versatile  performer,  and 
whether  considered  as  an  actress,  a  dancer,  or  a  singer, 
was  ranked  in  the  first  class.  A  critic  of  those  days 
thus  pays  Mrs.  Williams  a  well-turned  compliment:. 
"  She  displays  the  manners  of  the  English  drama  with 
genuine  French  vivacity.  Thalia  presided  at  her  birth, 
and  study  and  art  have  only  been  the  handmaids  of 
nature." 

Mr.  McMurtrie  also  appeared,  and  the  Boston  Thea 
tre  held  undisputed  reign,  where  (to  borrow  again  from 
10 


146  RECORD    OF    THE    BOSTON    STAGE. 

a  critic)  the  cautious  guardian  of  female  innocence  may 
safely  conduct  his  charge  to  the  enjoyment  of  scenes 
which  excite  the  glow  of  pleasure  that  is  unmingled 
with  the  blush  of  shame ;  and  where  the  rigid  moralist 
may  acknowledge  the  injustice  of  his  inhibition  of 
those  scenes  where  a  Powell  and  a  Moore  officiate  at 
truth  and  nature's  altar,  and  adorn  it  with  the  garlands 
of  taste. 

Prior  to  the  opening  of  the  theatre,  in  the  fall  of 
1816,  the  interior  had  been  refitted.  The  first  night 
was  honored  by  the  presence  of  His  Excellency,  the 
Governor,  Commander-in- Chief,  and  the  General  of 
the  Brigades  with  his  Aids.  The  plays  were  "He 
Would  be  a  Soldier,  or  the  Captain  pro  tern,"  and 
"The  Boarding  House,  or  five  hours  at  Brighton." 
On  the  9th  of  October,  of  this  year,  a  play  which  still 
holds  its  place  on  the  catalogue  of  the  acting  plays  of 
the  present  day,  and  which  has  immortalized  at  least 
one  actress  of  our  own  times,  was  brought  out.  We 
allude  to  "  Guy  Mannering  "  —  Dominie  Sampson,  Mr. 
Dickson ;  Julia  Mannering,  Mrs.  Moore  ;  Meg  Mer- 
rilies,  Mrs.  Powell.  The  piece  had  been  popular  at 
Covent  Garden,  and  from  the  cast,  a  full  house  was  in 
attendance,  composed  of  the  fashion  of  the  town.  Mrs. 
Powell  as  Meg  was  truly  "great,"  and  Dickson's 
Dominie  Sampson,  says  our  informant,  was  "  prodi 
gious."  Mrs.  Powell  made  a  more  classic  character  of 
it  than  Miss  Cushman  does,  though  at  the  time  some 
there  were,  who  accused  her  of  faults  which  we  have 
seen  alleged  against  Miss  Cushman's  conception  of  the 
part. 

During  this  season  Mr.  William  Pelby  was  among 


RECORD    OF    THE   BOSTON    STAGE.  147 

the  stock.  lie  was  acting  in  minor  parts,  and  though 
never  a  great  actor,  was  afterwards  as  we  shall  see, 
closely  connected  with  theatricals  in  this  city,  both  as  a 
manager  and  actor.  Mr.  Pelby,  we  believe,  came  from 
the  western  part  of  New  York  State. 

Mr.  Bernard,  after  an  absence  of  several  years,  re 
appeared,  and  was  warmly  welcomed.  He  continued 
a  member  of  the  company  several  years,  and  like  an 
old  oak  the  more  majestic,  the  more  it  is  beaten  by  the 
storms  of  adversity,  he  appeared  more  vigorous  and 
lively  in  mental  powers,  the  nearer  he  approached  to 
the  declivity  of  age.  Mrs.  Mortimer,  Mr.  Blanchard, 
Mr.  Drummond,  Mr.  Ililson  also  appeared  during  this 
season. 

Another  actor,  who  subsequently  created  some  noise 
both  here  and  in  Montreal,  came  out  from  Liverpool, 
the  scene  of  his  greatest  triumphs.  Mr.  Fred.  Brown, 
son  of  D.  L.  Brown,  of  high  repute  as  an  artist,  and 
brother  to  a  lady,  who  until  removed  by  death,  adorned 
for  many  years  a  circle  of  admiring  friends  in  this  city, 
made  his  appearance  and  performed  with  Mrs.  J. 
Barnes,  who  had  then  just  come  from  New  York. 
Mrs.  Barnes  was  an  actress  of  great  merit.  Her  Juliet, 
and  Mrs,  Hatter,  were  excellent  performances.  Miss 
Johnson,  afterwards  Mrs.  Hilson,  appeared  about  this 
time  in  the  "  Child  of  Nature  ; "  she  was  quite  pretty, 
but  forcibly  weak.  West's  company  of  Equestrians, 
from  London,  Edinburgh,  New  York,  and  Philadelphia, 
brought  out  "  Timour  the  Tartar  "  this  year,  with  great 
success. 

On  the  14th  of  April,  1817,  Mr.  Dickson  took  his 
leave  of  the  stage,  appearing  as  Cosey  in  "  Town  and 


1  M  RECORD    OF  THE   BOSTOJT   STAGE, 

1  .airy,  or  What  I  call  Comfortable."  Mr.  Dickie* 
did  not.  however,  retire  from  the  management,  but  for 
many  years  continued  to  direct  the  affair  the 

atre  with  tliat  skill  and  tact  which  enabled  him  to  meet 
th<:  wishes  of  the  lovers  of  the  drama,  and  to  give  satis 
faction  to  members  of  the  profession. 

The  season  of  1817-18  commenced  in  October,  the 
theatre  being  under  the  joint  management  of  Powell, 
Dickson,  and  Duf£  the  company  comprising  3Ir.  Ber 
nard,  Mr.  and  Mrs.  Drummond,  Mr.  and  Mrs.  Wheat- 
ley,  Mr.  Adamson,  (Low  comedian,)  Mr,  and  Mm 
Duff;  etc. 

Among  the  u  stars  "  from  across  the  ocean,  wai  Mr. 
Incl'  don,  a  ginger  of  great  merit,  who  drew  welL 

IncLedon  was  rather  a  vain  fellow,  and  it  is  related, 
that  on  one  occasion  in  England,  he  was  dining  in  com- 
pany  with  several  of  the  nobility,  at  the  residence  of  a 
brother  actor,  and,  after  the  cloth  had  been  removed, 
the  Duke  of  Sussex  called  on  Mr.  Price  for  the  song  of 
the  "  Thorn,"  one  of  Incledori's  favorite  pieces.  Incle- 
don  took  great  affront,  and  his  indiscretion  knew  no 
bounds.  It  was  monstrous  to  call  upon  another  to  sing 
the  "Thorn"  when  Charley  Incledon  was  in  the  room. 
The  duke  perceived  his  mortification,  and,  anxious  to 
make  amends  for  his  own  incautiousness,  invited  him 
to  favor  the  company  with  one  of  his  beautiful  ballads. 
Incledon,  stung  to  the  quick,  resolutely  declined,  alleg 
ing  hoarseness  and  incapacity.  He  then  turned  to  his 
host,  Mr.  K.,  and,  in  spite  of  importunities  to  the  con 
trary,  thus  addressed  him :  "Now,  NVL  jxiu-io,  do  yon 
see,  is  all  a  humbug.  It's  all  dc-ad  and  gone  ;  there's 
nothing  now  but  your  Jews,  (.-  to  Braham,) 


. 


•   -  :    - 


...    .-    ,  ..• 

• ,  •  .    > 


.  K- 


- 


. 


... 


150  RECORD    OF   THE    BOSTON    STAGE. 

struck  up  "  Cease,  rude  Boreas ; "  and  having  concluded, 
Cooke  acknowledged  his  identity,  and  the  party  left  him 
to  his  repose. 

Another  anecdote  is  related,  of  which  Incledon  is  a 
party.  Pope,  the  tragedian,  had  a  great  love  for  the 
good  things  of  this  life.  Amid  many  other  sayings,  one 
of  his  was  to  the  effect  that  he  knew  of  but  one  crime 
that  a  man  could  commit,  and  that  was  peppering  a 
rump-steak.  When  Incledon  returned  from  America, 
he  met  his  old  friend  Pope,  and,  after  mutual  congratu 
lations,  the  latter  exclaimed,  "  Well,  Charles,  and  how 
do  they  feed  ?  "  "  Immortally,"  replied  Incledon,  "  the 
very  poetry  of  eating  and  drinking,  my  dear  Pope,  in 
all  things  but  one  —  they  put  no  oil  on  their  salads." 
"  No  oil  to  their  salads  !  "  reiterated  the  horror-stricken 
tragedian.  "  Why  did  we  make  peace  with  them  ?  " 

Incledon  was  quite  eccentric.  On  one  occasion,  he 
and  Mathews  were  travelling,  on  a  very  fine  summer's 
day,  on  the  outside  of  a  stage-coach,  soon  after  the 
death  of  Incledon's  first  wife,  to  whom  he  had  been 
warmly  attached.  A  very  consumptive-looking  man 
&at  near  him,  about  whom  Incledon's  humane  heart 
made  him  feel  an  interest ;  and  he  frequently  spoke  to 
him,  inquired  into  his  history,  and  found  that  the  poor 
man  was  going  home  to  his  friends  to  be  nursed. 
Incledon,  when  the  coach  stopped,  addressed  the  poor 
invalid,  for  the  last  time,  as  follows  :  "  My  good  man, 
we  're  going  to  leave  you.  It 's  my  opinion,  my  poor 
fellow,  that  you  're  bespoke  ;  you  're  now,  I  take  it,  as 
good  as  ready  money  to  the  undertaker.  In  fact,  you  're 
looked ;  so  there 's  a  seven-shilling  piece  for  yon,  my 
good  man ;  —  and,  if  you  see  my  dear,  sainted  Jane, 


RECORD    OF   THE    BOSTON    STAGE.  151 

pray  tell  her  you  saw  me,  and  that  I  'm  well ! "  The 
poor  creature  stared,  and  took  the  money  with  an 
humble  bow,  but  made  no  reply  to  this  extraordinary 
address,  which  he  doubtless  supposed  to  come  from  a 
lunatic. 

The  last  song  Incledon  ever  sang  was  in  the  kitchen 
of  a  country  tavern  in  England.  He  had  attended  the 
glee  club,  but  declined  singing,  and  left  the  room  rather 
depressed  in  spirits,  and,  accidentally  on  his  way  out, 
strolled  into  the  kitchen,  where,  recovering  his  spirits, 
and  gathering  the  servants  around,  he  sang  them  the 
"  Farewell,  my  trim-built  Wherry ! "  in  his  usual 
brilliant  style ;  scarcely  had  he  finished  it,  however, 
when  he  relapsed  into  his  previous  gloom,  quitted  the 
house,  and  not  many  days  after  died. 

We  have  not  alluded  to  every  appearance  of  Mr. 
Cooper,  in  these  articles.  For  many  years  he  paid 
Boston  annual  visits,  and  was  always  greeted  with  good 
houses.  In  1818,  he  played  a  most  excellent  engage 
ment,  and  his  Hamlet  to  Mrs.  Wheatley's  Ophelia  was 
never  done  better.  For  ten  nights  he  received  $2120.75. 
Mr.  Bray  also  made  quite  a  part  out  of  the  Grave- 
Digger. 

Early  in  1818,  Mr.  Phillips,  a  vocal  performer,  made 
his  debut  before  a  Boston  audience,  in  the  "  Devil's 
Bridge."  Our  citizens  had  not  then  be.come  very 
familiar  with  the  lyric  drama,  and  were  pleased  with. 
Phillips,  whose  chief  excellence  did  not  consist  in  the 
tone  or  compass  of  his  voice,  so  much  as  his  skilful 
management  of  it. 

An  anecdote  is  related  of  Phillips,  that  when  in  this- 
city,  on  the  first  night  of  his  engagement,  after  he  had. 


152       RECORD  OF  THE  BOSTON  ST 

executed  two  or  three  songs,  apparent1 
tion,  though  not  much  to  the  astonishment, 
ence,  he  addressed  a  note  to  some  of  his  musical  u. 
in  the  boxes,  informing  them,  that  he  was  displeased 
with  his  reception;  that  he  was  accustomed  to  be 
encored  wherever  he  went,  and  that,  unless  a  more 
general  degree  of  applause  was  bestowed  upon  him,  he 
should  be  unable  to  acquit  himself  to  the  approbation 
of  the  public.  During  the  songs  which  succeeded,  Mr. 
Phillips  had  no  reason  to  complain  for  want  of  en 
comium.  He  received  in  this  city  for  eleven  nights 
about  $2500.  Mr.  Phillips  was  killed  on  the  27th  of 
October,  1841,  in  England,  by  a  railroad  accident  on 
the  Grand  Junction  Railroad. 

The  annual  benefits  of  the  actors,  in  those  days,  were 
y  b  enefits.  That  of  Mrs.  Powell  was  always 
honored  by  a  full  house,  and  so  highly  was  she  esteemed, 
that  the  following,  on  the  occasion  of  her  benefit,  taken 
from  the  newspapers  of  the  day,  only  expresses  the 
truth  :  "  Mrs.  Powell  has  been  with  us  even  from  her 
childish  days.  She  has  been  fostered  by  the  smiles  of 
our  fathers,  and  is  the  companion  of  our  sisters  and  our 
wives.  She  is  an  ornament  to  society,  and  her  charac 
ter  is  an  illustration  of  the  maxim  of  Solomon,  that 
•*  a  virtuous  woman  is  a  crown  to  her  husband.' " 

"We  have  before  alluded  to  this  lady  as  an  actress, 
but  equally  in  the  home  circle  was  she  noted  for  those 
admirable  qualities  of  heart,  which  rendered  her  an 
•exemplary  mother  and  friend.  Her  benefits  often 
amounted  to  $1000,  so  highly  was  she  esteemed. 

The  severity  with  which  the  press  formerly  alluded 
•to  actors  deficient  in  their  parts,  or  devoid  of  histrionic 


RECORD    OF    THE   BOSTON    STAGE.  153 

talent,  will  strike  any,  who  look  through  the  journals, 
with  astonishment.  The  writers  upon  theatricals  in 
1818  well  understood  —  if  we  can  judge  from  the  fol 
lowing  abstract  —  that  fulsome  praise  was  an  injury 
to  the  stage  and  to  the  profession  ;  that  the  lash  well 
r  applied  was,  in  fact,  required  to  correct  abuses,  and  to 
give  to  actors  a  healthy  stimulus  to  praiseworthy  exer 
tion.  They  did  not  then  call  over  the  stock-roll,  and 
exhaust  the  vocabulary  of  laudatory  words  and  phrases, 
but  tinctured  their  remarks  with  discretion.  The  fol 
lowing  is  perhaps  a  shade  too  bitter,  but  still  it 's  far 
better  than  the  puffs  which  now  issue  -from  the  "  box- 
office,"  and  are  paid  for  at  so  much  the  line  :  — 

"  To  Mr.  Harding  '  from  the  English  theatres,'  who 
made  his  first  appearance  in  '  Henry,'  we  have  a  word 
or  two  to  say  —  not  in  malice,  but  in  kindness.  He  is 
advised  to  apply  immediately  at  the  intelligence  office, 
or  consult  the  advertising  papers  for  some  employment. 
In  such  a  town  as  this,  where  occupations  are  so 
numerous,  the  calls  for  labor  so  frequent,  and  the 
compensation  so  liberal,  he  can  certainly  turn  his  hand 
to  something  more  honorable  and  profitable  to  himself, 
and  less  offensive  to  others,  than  that  which  he  has 
chosen.  If,  however,  having  rubbed  his  back  against 
the  scenes,  it  is  condemned  to  itch  forever  after,  we 
beseech  him,  if  he  is  movable,  to  remove  hence,  and 
return  to  the  '  English  theatres  ; '  where  having  arrived, 
let  him  speak  of  us  as  we  are.  *  *  *  The  audience 
which  endured  him  for  a  whole  evening,  can  never  be 
requested  to  give  any  further  of  their  kindness  to 
inexperience  and  awkwardness,  ignorance  and  folly." 

"  Aladdin,  or  the  "Wonderful  Lamp,"  was   brought 


154  RECORD    OF    THE    BOSTON    STAGE. 

out  towards  the  close  of  the  season ;  the  scenery  of  the 
piece  was  new  and  splendid.  J.  H.  Payne's  "  Accusa 
tion  "  was  also  produced.  A  detachment  of  the  com 
pany  went  to  Portsmouth,  IS".  H.,  during  the  summer 
season. 


CHAPTER  X. 

The  Season  of  1818-19.  —  First  appearance  of  Mr.  James  W.  Wallack 
in  Boston.  —  A  Sketch  of  his  Life.  —  Mr.  and  Mrs.  Bartley.  —  Their 
troubles  in  Connecticut.  —  Anecdote  of  Mrs.  Bartley.  —  Mr.  John 
N.  Bernard.  —  Dykes.  —  Cooper.  —  Mr.  Fred.  Brown.  — Jos.  T. 
Buckingham.  —  Kobert  Manners.  —  Philo-Dramatic  Society.  —  In 
troduction  of  Camels. 

THE  season  of  1818-19  commenced  in  September, 
under  flattering  auspices.  The  "Honeymoon"  and 
the  "  Bee  Hive  "  were  the  opening  pieces,  in  which 
Mrs.  Powell,  Mr.  Duff,  Mr.  and  Mrs.  Green,  Mr. 
Bray,  Mrs.  Barnes,  Mr.  and  Mrs.  Williams,  and  Mr. 
Arthur  Keen,  the  vocalist,  appeared.  A  new  drop- 
curtain,  painted  by  Worrall,  giving  a  view  of  Boston, 
taken  from  South  Boston  Bridge,  was  much  admired. 
The  Exchange  Coffee  House  was  destroyed  by  fire  on 
the  evening  of  November  3,  this  year,  and  one  or  two 
of  the  actors  suffered  by  loss  of  wardrobe,  etc. 

On  the  30th  of  November,  Mr.  James  W.  Wallack 
opened  as  Rolla.  His  London  reputation  was  consid 
erable,  and  New  York  had  endorsed  him.  He  played 
Hamlet,  Coriolanus,  Richard,  etc.  There  was  a  differ 
ence  of  opinion  respecting  his  talents.  He  was  too 


RECORD    OF    THE   BOSTON    STAGE.  155 

melodramatic  to  please  those  who  remembered  Hod"1- 

1  O 

kinson,  Cooper,  and  Cooke,  and  the  critics  asserted  that 
he  wanted  both  simplicity  and  nature,  though  his  Hamlet 
was  favorably  received.  TVallack  was,  however,  popu 
lar  both  on  the  stage  and  off,  and  he  was  honored  by 
full  houses. 

Mr.  Wallack  was  born  at  Hercules  Buildings,  Lam 
beth,  (London,)  on  the  24th  of  August,  1794.  His 
parents  intended  him  for  the  navy,  and  at  an  early  age 
he  received  his  appointment  as  midshipman  ;  but,  irre 
sistibly  attracted  by  the  profession  of  wrhich  his  father 
had  been  a  distinguished  member,  he  soon  renounced 
the  "  cocked  hat  and  dirk,"  and  became  one  of  a  num 
ber  of  young  aspirants,  called  "  The  Academicals."  It 
was  during  one  of  their  performances  that  the  great 
Richard  Brinsley  Sheridan  was  struck  with  the  promise 
displayed  in  the  impersonation  of  young  Wallack,  and, 
in  consequence,  procured  for  him,  at  the  age  of  twelve, 
an  engagement  at  Drury  Lane  Theatre,  where,  for 
some  years  after,  his  precocious  talents  continued  to  be 
remarked  and  appreciated.  He  was  but  eighteen  when 
we  find  him  playing  Laertes  to  Elliston's  Hamlet.  This 
was  on  the  occasion  of  the  opening  of  the  new  Theatre 
Royal,  Drury  Lane,  the  old  theatre  having  been  com 
pletely  destroyed  by  fire.  From  this  period  he  con 
tinued  a  member  of  the  Drury  Company,  playing,  with 
Edmund  Kean,  Macduff,  Edyar,  Richmond,  lago,  etc. ; 
a  position  of  responsibility  which,  in  such  an  establish 
ment,  at  so  early  an  age,  we  believe  to  be  unparalleled. 
His  marriage  with  the  daughter  of  the  celebrated  Mr. 
John  Johnstone,  better  known  as  "  Irish  Johnstone," 
took  place  in  1817,  and  his  departure,  on  his  first  visit 


156  RECORD    OF    THE    BOSTON    STAGE. 

to  the  United  States,  followed  immediately.  He  made 
his  first  appearance  in  New  York,  in  "  Macbeth,"  at  the 
old  Park  Theatre,  to  a  house  crowded  to  the  ceiling,  and 
his  success  was  instantaneous  and  decided.  In  1819 
his  eldest  son,  Mr.  Lester  Wallack,  was  born,  and  may 
thus  be  said  to  be  the  first  comedian  introduced  by  his 
father  to  New  York.  Mr.  Wallack  returned  to  Eng 
land  early  in  1820,  and  appeared  at  Drury  Lane  as 
Hamlet,  Macbeth,  Othello,  etc.  In  1822  he  again  visited 
America,  and  played  a  most  brilliant  engagement  in 
New  York.  Thence  he  departed  for  Philadelphia,  and 
during  that  journey  it  was  that,  by  the  breaking  down 
of  the  stage,  a  compound  fracture  of  the  leg  incapaci 
tated  him  for  business  for  the  space  of  eighteen  months. 
When  he  had  sufficiently  recovered  from  this  terrible 
check  to  his  labors  and  his  triumphs,  he  again  departed 
for  England,  leaving  his  wardrobe  in  New  York,  hav 
ing  determined  to  act  nowhere  after  his  accident,  until 
his  reappearance  in  America.  When  he  did  make  his 
bow  at  the  Park  Theatre,  some  short  time  afterwards, 
it  was  in  the  character  of  Captain  Bertram,  an  old 
sailor  on  crutches.  The  large  audience  -assembled  to 
give  him  welcome,  though  delighted  as  usual  at  the 
beauty  of  the  acting,  felt  a  mixed  sensation  of  regret  to 
think  that  the  favorite  artist  was  forever  deprived  of 
the  free  use  of  his  limbs.  The  expression  of  surprise 
and  enthusiasm  may  be  imagined,  when,  in  the  second 
piece  —  "  My  Aunt "  —  he  stepped  upon  the  stage  as 
Dick  Dashall,  with  the  elasticity  and  firmness  of  tread 
that  had  been  wont  to  distinguish  Him  during  his  earliest 
engagements.  Since  then,  Mr.  Wallack  has  been  a 
constant  and  welcome  visitor  to  our  shores,  and  his 


*  RECORD    OF    THE    BOSTON    STAGE  157 

popularity  would  seem  to  increase  with  each  succeeding 
visit.  In  Boston,  he  has  ever  been  a  most  especial 
favorite,  no  better  proof  of  which  could  be  adduced  than 
the  fact,  that  when  he  played  here,  some  six  years  ago? 
it  was  the  fourth  engagement  in  eleven  months,  each 
one  of  which  was  most  brilliant  and  successful.  Mr. 
"Wallack,  in  1852,  became  manager  of  what  was  for 
merly  the  Lyceum  Theatre,  New  York.  His  own 
reappearance,  with  all  the  pristine  vigor  of  former 
years,  has  been  a  triumph  of  the  most  flattering  nature, 
and  his  theatre  is  in  the  full  tide  of  successful  opera 
tion. 

Wallack  was  succeeded  by  Mr.  and  Mrs.  Bartley, 
who  came  out  from  Liverpool  in  the  preceding  Novem 
ber,  and  had  met  in  the  southern  cities  with  great  sup 
port.  The  Bostonians,  however,  even  forty  years  ago, 
were  not  disposed  to  accept,  as  up  to  standard  value, 
every  coin  bearing  the  impression  of  New  York  critics, 
and  Mr.  and  Mrs.  Bartley  were  not  so  well  received 
here  as  elsewhere.  They  had  the  mortification  of  play 
ing  to  very  fashionable  and  thin  houses,  and  they  were 
feted  by  the  most  wealthy  and  intelligent  of  our  citizens. 
Mr.  Bartley  was  a  native  of  Bath,  England.  He  made 
his  debut  as  the  Page  in  the  "  Purse."  He  gradually 
acquired  confidence,  and  the  summer  of  1800  found 
him  at  Margate,  then  the  grand  resort  of  the  English 
nobility.  While  performing  there,  the  celebrated  Mrs. 
Jordan  went  from  London,  where  she  commenced  her 
performances  with  Rosalind,  and  was  so  much  struck 
with  Mr.  Bartley's  Orlando,  that,  at  the  conclusion  of 
one  of  his  speeches,  she  exclaimed  "  Bravo ! "  loud 
enough  to  be  heard  by  the  audience.  That  "bravo" 


158  RECORD    OF   THE    BOSTON    STAGE. 

was  the  first  stone  of  his  future  fame  in  England,  for 
shortly  after  he  was  called  to  London,  through  Mrs. 
Jordan's  influence,  and  appeared  at  Drury  Lane  as 
Richard  III.,  Sir  Anthony  Absolute,  Shylock,  and  other 
leading  parts  both  in  tragedy  and  comedy.  In  1814 
he  married  Miss  Smith,  considered  in  England,  both 
before  and  after  her  return  to  England,  an  actress  of 
considerable  ability  in  tragedy.  After  having  acquired 
celebrity  in  the  provincial  theatres,  she  was  engaged  to 
appear  at  Covent  Garden,  London.  She  was  engaged, 
says  her  biographer,  at  eighteen  pounds  per  week  for 
the  first  season,  nineteen  for  the  second,  and  twenty  for 
the  third.  After  the  managers  had  made  the  engage 
ment,  they  seem  to  have  recollected  that  Mrs.  Siddons 
belonged  to  their  company ;  and  as  it  would  be  rather 
ridiculous  to  have  two  Lady  Macbeths  on  one  evening, 
and  the  part  being  in  the  possession  of  Mrs.  Siddons 
would  preclude  Miss  Smith  from  playing  it  at  all, 
whether  she  had  merit  or  not,  they  soon  made  the 
discovery  that  Miss  Smith  must  play  subordinate 
characters  or  receive  her  salary  for  doing  nothing. 
Accordingly,  when  her  first  appearance  came  to  be 
talked  of,  and  she  fully  expected  to  be  brought  out  in 
some  first-rate  tragic  heroine,  she  was  informed  she 
must  make  her  debut  in  Lady  Toivnley  in  the  comedy 
of  "  The  Provoked  Husband  : "  to  this,  however,  she 
decidedly  objected,  as  it  gave  no  scope  for  the  display 
of  tragic  powers.  She  at  length  agreed  to  perform  the 
character,  on  condition  of  being  allowed  to  recite 
Collins'  "  Ode  on  the  Passions "  between  the  play  and 
the  farce.  This  met  its  objection  in  turn  ;  Mr.  John 
Kemble,  the  then  acting  manager,  declared  it  impossi- 


RECORD    OF   THE   BOSTON    STAGE.  159 

ble;  it  was  so  irregular,  it  could  not  be  thought  of;  but 
Miss  Smith  had  too  much  regard  for  her  own  fame,  to 
suffer  herself  to  be  talked  out  of  what  was  rational,  by 
people  who  could  understand  infinitely  better  the  fitting 
of  a  harlequin's  jacket  than  the  engagement  of  a  tragic 
actress,  and  refused  to  play  without  it.  The  comedy 
passed  off  languidly,  with  but  little  applause,  but  the 
Ode  fully  redeemed  any  unfavorable  opinions  the 
audience  might  have  hitherto  formed  of  Miss  Smith. 

It  was  not  until  recently  that  the  "  blue  law "  of 
Connecticut  against  theatres  and  circuses  was  repealed. 
Mr.  and  Mrs.  Bartley  had  a  practical  example  of  its 
workings,  when  in  this  country.  It  happened  as  they 
were  going  their  first  journey  from  New  York  to  Bos 
ton,  that  they  halted  to  breakfast  at  the  principal  hotel 
in  Hartford.  It  was  soon  known  that  they  were  in  the 
city,  and,  before  Mr.  Bartley  had  finished  his  meal,  the 
landlord  informed  him,  that  several  gentlemen  were  in 
an  adjoining  room,  and  requested  to  speak  with  him. 
Mr.  Bartley  waited  upon  them,  and  they  explained  to 
him,  that  the  fame  which  had  attended  Mrs.  Bartley  in 
New  York  made  them  most  anxious  to  have  an  oppor 
tunity  of  witnessing  her  talents  in  Hartford ;  that  they 
had  no  theatre,  but  a  tolerably  large  assembly-room, 
which  they  would  fill,  if  she  would  engage  to  give 
readings  or  recitations.  It  was  soon  agreed  that  she 
should  do  so,  on  her  return  from  Boston.  The  night 
was  fixed,  and  the  room  crowded  to  excess.  Her  read 
ings  from  Milton  and  Shakspeare  were  highly  approved, 
and  she  promised  to  repeat  them,  on  her  way  to  Boston, 
at  her  next  visit.  The  inhabitants  of  Hartford  apprised 
themselves  of  the  period  of  her  next  engagement  at 


160  RECORD    OF    THE    BOSTON    STAGE. 

Boston,  and  wrote  to  Mr.  Bartley,  requesting  him  to 
add  his  quota  to  the  promised  evening's  entertainment 
at  Hartford.  This  was  acceded  to ;  but  no  sooner  was 
the  announcement  made,  than  the  rigid  and  puritanical 
part  of  the  community  set  up  an  outcry  against  these 
repeated  innovations,  and  Mr.  Ebenezer  Huntington, 
(the  attorney-general  of  the  State,)  resolved  to  put  into 
execution  a  dormant  act  of  the  legislature,  against  the 
performances.  In  the  meantime,  Mr.  and  Mr.  Bartley 
(wholly  unconscious  of  what  had  been  threatened)  ar 
rived,  and  were  received  as  warmly  as  ever.  The 
hour  of  performance  having  approached,  the  room  was 
again  crowded,  and  all  was  on  the  eve  of  commence 
ment,  when  a  letter  addressed  to  the  landlord  of  the 
hotel  in  which  the  assembly-room  was  situated,  came 
from  Ebenezer  Huntington,  stating  that  if  Mr.  and 
Mrs.  Bartley  proceeded  in  their  unlawful  practices,  he 
would  prosecute  them  under  the  existing  law  of  the 
State.  The  contents  of  this  letter  were  concealed  from 
Mr.  Bartley,  and  the  performance  went  off  with  great 
eclat. 

Shortly  after  Mr.  and  Mrs.  Bartley  had  retired  to 
rest  that  night,  the  myrmidons  of  Ebenezer  came  with 
a  writ,  to  serve  it  on  the  unconscious  offenders.  The 
singularity  of  the  proceedings,  together  with  the  indel 
icacy  of  selecting  the  hour  of  midnight  as  the  proper 
period  for  the  execution  of  the  process,  aroused  the 
indignation  of  several  gentlemen,  who  were  still  in  the 
hotel,  and  they  gave  their  personal  securities  to  pro 
duce  Mr.  Bartley  the  next  day,  or  to  answer  the  con 
sequences,  at  the  same  time  depositing  five  hundred 
dollars  to  meet  the  expenses  of  the  suit.  A  tremendous 


RECORD    OF   THE    BOSTON    STAGE.  161 

fall  of  snow  rendered  the  roads  impassable  on  the  fol 
lowing  day,  and  Mr.  and  Mrs.  Bartley  were  conse 
quently  detained.  Still  the  whole  transaction  was 
carefully  kept  from  their  knowledge ;  but  some  legal 
persons,  who  interested  themselves  greatly  in  the  mat 
ter,  and  differing  as  to  the  construction  of  the  law  from 
the  attorney-general,  put  the  question  in  a  train  of 
judicial  hearing,  and  were  adventurous  enough  to  invite 
Mr.  and  Mrs.  Bartley  to  repeat  the  entertainments 
that  evening,  as  the  weather  was  so  unfavorable  to  the 
prosecution  of  their  journey  to  Boston.  They  were 
still  unconscious  of  what  had  happened ;  and  it  was 
not  until  after  some  grave  argumentation  in  a  court  of 
justice,  and  a  decision  favorable  to*  the  accused,  that 
Mrs.  Bartley  was  made  acquainted  with  all  that  had 
occurred,  by  the  gentlemen  who  had  so  spiritedly 
defended  the  prosecution,  at  their  own  risk. 

Mrs.  Bartley  and  her  husband,  prior  to  their  return 
to  England,  gave  readings  at  Concert  Hall,  in  this  city, 
and  also  appeared  at  the  theatre,  but  with  poor  success. 
Mr.  Bartley  is  still  living,  and  has,  within  a  few  years, 
given  readings  before  Queen  Victoria.  His  final 
retirement  from  the  stage  took  place  in  February, 
1853. 

Mrs.  Bartley's  talents,  even  in  her  own  opinion,  were 
not  duly  appreciated  in  this  city  ;  and,  mortified  that 
with  her  great  talents,  great  person,  and  great  voice, 
she  could  not  obtain  the  favor  of  the  public,  remarked, 
in  the  green-room,  that  as  turkeys  were  so  abundant, 
the  American  standard  should  be  changed,  and  a  turkey 
substituted  for  the  eagle.  Mrs.  Powell  dryly  replied, 
that,  by  the  same  rule,  the  British  lion  should  give 
11 


162  RECORD    OF    THE    BOSTON    STAGE. 

place  to  a  donkey,  as  asses  were  the  most  numerous 
class  of  animals  in  Great  Britain. 

Mrs.  Powell's  benefit  took  place  in  April,  when  Mr. 
Dickson  reappeared,  —  his  last  performance  but  one  on 
the  stage. 

In  the  summer  of  this  year,  a  new  brick  amphitheatre 
was  opened  at  the  Washington  Gardens.  Mr.  Bernard 
was  the  director,  and  Mr.  Betterton,  Mr.  Jones,  and 
Mrs.  TVheatley,  were  the  principal  performers.  The 
entertainment  comprised  songs,  addresses,  and  recita 
tions,  and  short  vaudevilles  were  given.  After  this 
season,  Mr.  Bernard  returned  to  England,  where  he 
died  on  the  29th  of  November,  1828,  in  very  reduced 
circumstances. 

The  regular  season  commenced  in  October,  when 
Mrs.  Young  made  her  debut  as  Miss  Stanford.  She 
had  been  performing  in  Canada.  Her  face  and  figure 
were  interesting,  and  her  performances  characterized 
by  much  vivacity  and  archness.  Mr.  Dykes,  who 
married  Miss  Brailsford,  of  this  city,  was  a  member  of 
the  company  this  year,  and  also  Mr.  and  Mrs.  Fred. 
Brown.  Among  the  most  notable  plays  brought  for 
ward,  was  that  of  "  Brutus,"  by  John  Howard  Payne. 
Brutus,  Brown  ;  Titus,  Williams,  an  actor  of  unwearied 
industry,  who  dressed  well,  and  succeeded  in  obtaining 
the  approbation  of  the  public.  Master  Edward  and 
Miss  Caroline  Clark,  two  liliputian  singers,  served  to 
fill  up  the  interlude  between  the  farces.  Wallack  again 
appeared  this  season,  and  was  shortly  after  followed  by 
Cooper  —  his  superior  as  an  actor  —  but  who,  from  the 
frequency  of  his  visits,  had  become  too  well  known ; 
and  coming  as  he  did  so  soon  after  Wallack,  who  being 


RECORD    OF    THE    BOSTON    STAGE.  163 

of  late  importation  it  was  more  fashionable  to  admire, 
the  houses  were  so  slim,  that  the  engagement  was 
mortifying  to  himself  and  friends. 

The  season  was  varied  by  a  little  episode,  not  un 
usual  in  the  history  of  the  drama,  in  which  the  press 
and  the  stage  figured.  Mr.  Fred.  Brown  was  not 
inclined  to  play  second  to  either  Cooper  or  Wallack, 
and  he,  therefore,  during  the  engagement  of  these 
gentlemen,  absented  himself,  and  on  other  occasions, 
when  cast  to  what  he  considered  an  inferior  part, 
walked  through  it  with  perfect  indifference.  The 
audience  hissed  him,  and  determined  that  he  should 
play  what  he  was  wanted  for ;  and  from  little  the 
matter  grew  till  it  assumed  a  serious  appearance.  Mr. 
J.  T.  Buckingham  had  accused  Brown  of  using  expres 
sions  disrespectful  to  a  Boston  audience,  and,  on  the 
evening  of  December  3d,  the  editor  was  confronted 
with  the  actor,  and  the  result  was  such  that  the 
managers,  fearful  of  a  row,  allowed  Mr.  Brown  to 
depart  for  Montreal.  Mr.  Buckingham  stated  the  case 
in  the  Galaxy,  in  which  he  gave  his  opponent  a  severe 
drubbing. 

Early  in  1820,  Mrs.  Barnes  played  Hamlet,  and 
played  it  well  too.  A  wicked  wag  contributed  the 
following  to  a  paper:  — 

ON  MRS.  BARNES'  "HAMLET." 
Strange,  Mrs.  Barnes  so  much  bewitches, 
Because,  forsooth,  she  wears  the  breeches ; 
Strange,  that  so  many  husbands  roam 
To  see —  what  they  endure  at  home. 

There  are  many  who  recollect  Mr.  George  Manners, 
the  English  consul  at  this  port.  It  was  during  the 


164  RECORD    OF   THE    BOSTON    STAGE. 

year  that  lie  brought  out  a  comedy,  called  "  Reforma 
tion,"  which  was  successful.  Mr.  Manners  was  of  the 
school  of  "fine  old  English  gentlemen."  He  was 
consul  at  the  port  of  Boston  from  1817  until  1835, 
when  he  removed  to  Canada,  and  devoted  himself  to 
agricultural  pursuits  till  his  death,  which  occurred  at 
Coburg,  Canada  West,  on  the  18th  of  February,  1853. 
The  year  is  farther  notable,  from  the  fact,  that  it  was 
the  first  upon  which  performances  were  given  five 
evenings  in  the  week,  at  the  Old  Theatre.  Another 
innoVation  was  also  made  this  year  —  that  of  giving 
theatrical  entertainments  on  Thanksgiving  evening. 
The  managers  did  not  take  this  step  without  due  con 
sideration.  They  thought  that  after  the  divine  services 
of  the  day  were  over,  there  was  no  impropriety  in  glad 
dening  the  hearts  of  many,  who  had  no  social  firesides 
to  gather  round,  though  the  theatre  was  invariably 
closed  on  fast  days. 

In  the  summer  of  this  year,  a  society,  composed  of 
young  men,  organized  the  Philo  Dramatic  Society,  and 
gave  occasional  entertainments  at  the  Amphitheatre, 
Washington  Garden.  The  primary  purposes  of  the 
society  were  improvement  in  declamation,  reading,  and 
recitation,  the  expenses  being  defrayed  by  an  annual 
assessment.  No  professional  actor  was  permitted  to 
take  any  part  in  the  performances.  Of  the  origin  of 
this  society,  John  Preston,  Esq.,  gives  us  the  following 
account :  —  "  The  first  idea  originated  with  James  Elli 
son,  who  resided  in  South  street,  and  was  first  book 
keeper  in  the  Boston  Bank  at  that  time.  Mr.  Ellison 
did  not  like  to  be  active  in  the  concern  for  two  reasons ; 


RECORD    OF    THE   BOSTON    STAGE.  165 

he  had  a  large,  family,  and  was  connected  with  a  finan 
cial  institution ;  but  he  gave  us  the  benefit  of  his 
services  as  a  more  than  clever  poet.  He  was  a 
remarkably  strong  lover  of  the  drama,  and  his  able 
criticisms  on  theatricals  can  be  found  in  the  Boston 
Gazette  of  that  day,  which  at  the  time  was  partly 
under  the  control  of  John  Russell.  Mr.  Ellison  was 
the  author  of  a  number  of  successful  dramatic  pieces 
that  were  all  in  print  at  that  time.  I,  at  this  moment, 
recollect  only  one  by  its  title ;  it  was  '  The  Siege  of 
Tripoli.'  I  remember  seeing  Duff  play  Aben  Hamet, 
the  principal  character  in  it ;  of  this  I  am  not  very 
certain  however.  Ellison  had  drawn  this  Aben  Hamet 
to  represent  Napoleon  as  a  tyrant.  He  furnished  us 
almost  every  night  we  played,  with  an  original  prologue 
or  epilogue.  Pie  asked  me  to  name  the  idea  of  getting 
up  a  "Philo  Dramatic  Society"  to  Josiah  Spurr, 
Thayer,  Charles  Kupfer,  Whittaker,  and  probably  others 
that  I  do  not  now  remember.  I  did  so.  They  all 
agreed  to  be  present,  provided  a  meeting  of  that  kind 
should  be  called.  Kupfer  and  myself  put  in  the  first 
advertisement,  I  think  in  the  Evening  Gazette,  calling 
that  meeting.  It  was  more  fully  attended  than  we  had 
expected  ;  but  they  all  wanted  to  be  paying  members, 
not  active.  Mr.  Ellison  was  there,  but  declined  taking 
any  office,  although  he  was  more  potentially  influential 
to  the  society  than  all  its  officers  combined.  We  made 
J.  T.  Buckingham,  president ;  Whittaker,  vice  presi 
dent;  and  Spurr,  secretary.  Mr.  Thayer,  who  subse 
quently  became  a  professional  actor,  was  the  most  active 
member." 


166  RECORD    OF    THE    BOSTON    STAGE. 

The  amphitheatre  was  so  arranged  that  it  could  be 
used  for  a  circus.  A  rhymer  thus  alluded  to  the 
gardens,  in  1819:  — 

"  Bostonians  are  charmed  with  various  feats, 
At  John  H.  Shaffer's  splendid  garden  treats, 
Where  West  is  manager,  and  justly  draws 
A  host  of  auditors  and  great  applause, 
By  showing  Yeomen  riding  upside  down, 
Where  Godean  proved  the  wonder  of  the  town, 
Where  *  *  *  *  is  retailed  by  the  single  glass, 
And  Doctor  Preston  gave  his  Oxide  Gass." 

The  "Bride  of  Abydos"  was  produced.  It  was  a 
dull  and  tedious  play,  and  the  only  redeeming  feature 
was  the  brilliant  and  expensive  scenery.  The  reap 
pearance  on  the  Boston  stage  of  Mrs.  Drummond, 
(Mrs.  Barrett,)  who  had  much  improved  during  her 
absence  south,  was  noticed  in  congratulatory  terms  by 
the  Press.  She  was  a  most  fascinating  actress.  Cooper 
appeared  again  this  season,  and  brought  out "  Virginius." 
The  season,  however,  was  not  a  successful  one  to  the 
managers.  Duff,  Brown,  and  Bray  put  forth  their 
strength  in  vain.  Cooper  became  "  as  a  guest,  who 
tarries  too  long ; "  and  camels  from  Arabia,  introduced 
in  "  Blue  Beard/'  though  poiverful  attractions,  did  not 
draw. 


RECORD    OF    THE    BOSTON    STAGE.  167 


CHAPTER   XI. 

A  Sketch  of  the  Life  of  Edmund  Kean.  —  His  Early  Days.  —  First 
Appearance  on  the  Stage.  —  Miss  Tisdale.  —  His  Performances  in 
the  Eing.  —  Anecdotes.  —  Appearance  in  London.  —  Marriage. — 
Leo,  or  the  Gipsy.  —  His  Family.  —  Kean —  and  Arnold.  —  Charles 
Kean,  etc.,  etc. 

THE  year  1820  witnessed  the  arrival  on  our  shores 
of  a  great  actor,  one  ripe  in  his  powers,  and  in  the 
very  heyday  of  his  prosperity  —  Edmund  Kean  —  who 
was  born  November  4,  1787.  The  parentage  of  this 
eminent  actor  is  involved  in  some  degree  of  mystery. 
He  himself,  at  one  time,  affected  to  believe  that  the  old 
Duke  of  Norfolk  knew  more  about  it  than  anybody  else. 
His  mother,  however,  was  the  daughter  of  George 
Saville  Carey,  an  actor,  dramatist,  lyrist,  and  lecturer 
of  considerable  repute  in  his  day,  and  her  husband, 
Kean's  father,  also  named  Edmund,  was,  at  one  time, 
an  apprentice  to  a  surveyor,  but  died  as  a  copying  clerk 
in  an  attorney's  office.  Kean  was  almost  entirely 
neglected  in  his  infancy,  so  much  so  that  at  one  time  it 
was  found  necessary  to  use  bracing-irons  to  bring  his 
limbs  —  deformed  by  his  attempts  to  imitate  his  com 
panions —  back  to  their  natural  shape.  His  mother, 
being  connected  with  the  theatre,  Kean  had  free  entree 
behind  the  scenes,  where  he  almost  lived.  His  first 
appearance  before  the  public,  was  when  the  opera  of 
"  Cymon  "  was  produced,  which  is  thus  recorded  by 
Michael  Kelly,  in  his  reminiscences :  —  "  Before  the 
piece  was  brought  out,  I  had  a  number  of  children 


168  RECORD    OF    THE    BOSTON    STAGE. 

brought  me,  that  I  might  choose  a  Cupid.  One  struck 
me  with  a  fine  pair  of  black  eyes,  who  seemed  by  his 
looks  and  gestures  most  anxious  to  be  chosen  as  the 
little  god  of  love.  I  chose  him,  and  little  did  I  then 
imagine,  that  my  little  Cupid  would  eventually  become 
a  great  actor ;  the  then  little  urchin  was  neither  more 
nor  less  than  Edmund  Kean."  The  little  urchin  con 
tinued  to  serve  in  the  theatre,  and  when  John  Philip 
Kemble  conceived  the  idea  of  introducing  infant  imps 
around  the  witches'  cauldon  in  "  Macbeth,"  Kean  was 
among  them,  and  seems  to  have  entertained  a  suspicion 
of  the  mummery  of  the  whole  affair,  as  he  continued  to 
trip  up  the  heels  of  some  of  his  fellow-phantoms. 
Kemble,  as  may  well  be  imagined,  was  excessively 
annoyed,  whilst  Kean  appeased  his  offended  dignity  by 
the  readiness  with  which  he  begged  the  manager  "  to 
consider  that  he  had  never  appeared  in  tragedy  before" 
At  a  very  early  age,  Kean  gave  promise  of  his  future 
ability  as  an  actor.  His  perceptions  of  the  beauties  of 
the  different  plays  were  very  good,  and  even  in  his 
sixth  year,  his  recitation  of  the  tent-scene  in  "  Richard 
III."  was  marked  by  a  judicious  spirit,  and  a  clear 
conception  of  every  passage.  Kean  grew  up,  appar 
ently,  without  any  motherly  care ;  he  was  ignorant  of 
the  first  rudiments  of  education,  and  he  repaid  the 
kindness  of  some  friends  who  placed  him  at  school,  by 
"taking  French  leave,"  and  entering  the  merchant 
service  as  a  cabin-boy.  He  sailed  from  Madeira,  where 
he  was  taken  sick,  and  after  remaining  several  months 
in  a  hospital,  worked  his  passage  home,  where  he 
arrived  pennyless,  homeless,  almost  houseless,  and  for 
aught  he  knew,  friendless.  Miss  Tisdale,  of  Drury 


RECORD    OF    THE    BOSTON    STAGE.  1G9 

Lane  Theatre,  whom  he  had  from  his  infancy  been 
taught  to  regard  as  an  aunt,  in  connection  with  Mrs. 
Price,  another  aunt,  sent  him  once  more  to  school,  but 
the  irksome  inflictions  of  scholastic  severity  were  too 
fatiguing,  and  again  taking  to  heels,  he  joined  the  show 
establishments  of  Richardson  &  Saunders,  and  became, 
under  scientific  tuition,  an  expert  tumbler  in  the  ring, 
and  a  most  daring  equestrian.  When  at  Bristol,  on 
one  occasion,  while  exhibiting  some  extraordinary 
exploit  in  the  circus,  he  lost  his  equipoise,  and,  falling 
on  the  sharp  boards  that  formed  the  ring,  fractured 
both  legs.  The  consequences  of  the  accident  were 
always  discernible.  lie  continued  this  life  of  vaga 
bondage  for  some  time,  though  in  every  vicissitude, 
his  predilections  for  Shakspeare  and  the  regular  drama 
abated  not  one  jot,  and  thanks  to  Miss  Tisdale,  he  was 
finally  induced  to  accept  a  situation  in  a  small  theatre 
in  Yorkshire,  where  he  acquitted  himself —  though  still 
a  boy  —  in  many  of  the  leading  characters  of  tragedy, 
with  considerable  success,  and  in  such  a  \vay  as  to  give 
promise  of  becoming  eventually,  if  not  a  very  great,  at 
least  a  very  clever  actor.  Kean  had  many  years  of 
severe  probation  to  pass  through,  but  he  struggled  on, 
gaining  slowly  in  reputation.  He  became  a  member  of 
a  "  commonwealth,"  which,  as  in  later  days,  proved  a 
state  of  common  poverty.  The  circuit  he  was  on,  was 
in  the  immediate  vicinity  of  London,  and  oftentimes  he 
found  himself  as  poor  as  a  pauper ;  for  the  tragedian, 
who  afterwards  obtained  his  £100  per  night,  at  one 
period  actually  lived,  or  rather  existed,  on  the  sum  of 
three  shillings  and  sixpence ;  and  at  one  time,  in  the 
town  of  Croyden,  he  was  so  reduced,  that  a  bundle  of 


170  RECORD    OF   THE    BOSTON    STAGE. 

clothes  received  from  Miss  Tidswell,  were  sold  to  pay 
for  food,  or  to  use  Kean's  words,  "  for  better  security, 
my  aunfs  parcel  was  consigned  to  the  charge  of  '  my 
uncle.'" 

In  this  same  town  of  Croyden,  where  Kean  had 
experienced  the  effects  of  a  short  purse,  it  was,  that 
shortly  after,  Kean,  by  one  of  the  happiest  retorts  on 
theatrical  record,  evinced  the  consciousness  of  his  own 
mental  power,  and  triumphantly  repelled  the  ignorant 
and  invidious  attack  of  the  "  cant  of  criticism."  He 
was  announced  for  Alexander  the  Great,  and  the 
triumphal  car,  in  which  the  hero  was  drawn  in.  mimic 
procession,  had  just  reached  the  centre  of  the  stage, 
when,  as  it  passed  in  "  slow  and  solemn  state  "  by  the 
foot-lights,  some  supercilious  coxcomb  in  the  stage-box, 
exclaimed,  with  a  sneer,  "Alexander  the  Great ! 
Alexander  the  Little ! "  Kean,  with  an  admirable 
presence  of  mind,  turned  his  head  deliberately  round 
without  altering  his  position,  and  fixing  his  eyes  with  a 
look  of  ineffable  scorn  upon  the  self-sufficient  sneerer, 
replied,  "Yes!  but  with  a  great  soul!"  The  spirit 
of  the  actor  roused  the  audience  to  a  just  sense 
of  the  insult  that  had  so  unworthily  been  offered  to 
liim,  and  whilst  they  applauded  the  promptitude  and 
{manliness  of  the  retort,  his  mortified  assailant  slunk 
saway  from  the  scene  of  his  opponent's  triumph. 

To  follow  Kean  in  his  provincial  tours,  would  be 
^neither  interesting  nor  of  value,  so  far  as  it  might 
affect  a  just  appreciation  of  the  man.  As  opportunity 
presented  itself  he  improved  himself  in  fencing,  music, 
dancing,  and  singing,  and  had  the  honor,  in  Belfast,  of 
^performing  with  Mrs.  Siddons,  who  predicted  his  future 


RECORD    OF    THE    BOSTON    STAGE.  171 

success.  He  visited  Birmingham,  and  other  principal 
cities,  and  while  in  Scotland,  he  was  summoned  by  his 
aunt  to  repair  at  once  to  London,  where  she  had 
procured  him  an  engagement  at  the  Haymarket  Thea 
tre.  Pie  lost  no  time  in  obeying  the  summons,  which 
he  looked  upon  as  the  result  of  his  provincial  and 
northern  exploits;  and  confirmed  in  this  notion  by 
observing  the  play  of  "  The  Mountaineer  "  placarded 
as  the  opening  performance  at  the  Haymarket,  he 
paused  in  joyous  expectation  of  seeing  his  own  name 
announced  as  Octavian  —  the  fame  of  his  representa 
tion  of  that  character  having,  he  flattered  himself, 
reached  the  metropolitan  managers.  But  who  shall 
describe  his  disappointment  and  mortification,  when  he 
discovered  that  Mr.  Rae  was  to  enact  the  hero  of  the 
piece ;  whilst,  nearly  at  the  fag-end  of  the  dramatis 
personce,  he  read :  — 

GAKEM, By  Mr.  KEAN. 

(His  First  Appearance  at  this  Theatre.) 

Kean,  however,  did  his  duty  to  the  manager  and  the 
public,  and  by  the  touching  delivery  of  some  half-dozen 
words,  uttered  in  the  act  of  kneeling  to  Bulcasim 
Muley,  he  aroused  the  sympathies  of  the  whole  house, 
who  rewarded  the  unlooked-for  burst  of  energy  and 
feeling  by  three  distinct  rounds  of  applause. 

Finding  that  no  advantageous  opening  could  be  made 
at  the  Haymarket,  Kean  determined  to  apply  to  John 
Philip  Kemble,  then  manager  at  Covent  Garden,  but 
his  reception  was  so  chilling  that  he  returned  to  his 
post  and  patiently  fagged  through  the  season.  The 
next  season  Kean  became  a  member  of  Mr.  Watson's 


• 
172       RECORD  OP  THE  BOSTON  STAGE. 

company,  and  while  at  Cheltenham,  married  Miss 
Chambers,  who  was  then  playing  the  heroines.  The 
marriage  proved  an  unhappy  one,  and  brought  with  it 
nothing  but  disappointment  and  enduring  wretchedness. 
Kean  was  then  only  twenty  years  of  age,  and  he  was 
soon  convinced,  that  so  far  as  money  was  concerned, 
instead  of  realizing  the  golden  dream  in  which  he 
indulged,  he  had  entailed  upon  himself  the  additional 
expenses  of  an  establishment  befitting  a  married  man. 
He  was  deceived,  but  the  deception  was  all  his  own, 
for  his  wife  was  no  party  whatever  to  his  self-delusion. 
Dissatisfied  with  himself,  he  sought  for  solace  in  disso 
lute  and  dissipated  society,  which  proved  so  destructive 
to  his  fame  towards  the  latter  part  of  his  life. 

At  the  close  of  his  second,  season,  in  that  district, 
Kean  joined  the  Swansea  company,  then  managed  by 
Mr.  Cherry.  At  this  time,  he  achieved  a  succession  of 
triumphs  as  Sir  Giles  Overreach,  Reuben  Glenroy,  and 
as  Luke,  in  "  Riches."  In  Richard,  in  Octavian,  Shy- 
lock,  and  many  other  characters,  Kean  was  not  less 
eminently  successful.  By  a  strange  coincidence  — 
never  equalled  in  the  annals  of  the  stage  —  it  happened 
that  James  Sheridan  Knowles  was,  at  that  time,  also  a 
member  of  Cherry's  company ;  and  at  Waterford,  he 
produced  for  his  own  benefit,  his  first  acted  drama.  It 
was  a  musical  piece,  entitled  "  Leo ;  or,  The  Gipsy," 
abounding  with  passages  of  pure  poetry,  and  with 
descriptions  and  imagery  worthy  of  the  author  of  the 
"  Hunchback,"  "  Virginius,"  etc.  Kean  played  the 
hero  with  much  applause.  But,  to  render  the  coinci 
dence  still  more  extraordinary,  on  that  same  season, 
and  a  few  nights  after  Knowles'  successful  essay,  Kean, 


RECORD    OF    THE    BOSTON    STAGE.  173 

too,  added  the  character  of  a  dramatist  to  that  of  a 
tragedian,  by  producing  a  melodrama,  of  which  the 
dialogues,  songs,  and  music,  were  of  his  own  composi 
tion.  The  melodrama  was  afterwards  sent  to  Miss 
Tisdale  through  the  post-office ;  the  postage,  however, 
amounting  to  nearly  three  pounds,  she  declined  purchas 
ing  such  an  unanticipated  gratification  at  so  dear  a  rate, 
and  it  was  returned  to  the  dead  letter  office,  where  it 
was  doubtless  committed  to  the  flames.  Though  he 
had,  as  occasion  required,  disported  during  the  season, 
as  first  tragedian,  low  comedian,  principal  vocalist,  ballet- 
master,  comic  singer,  and  harlequin,  the  most  singular 
effort  of  his  eccentricity  was  reserved  for  the  evening 
announced  as  the  benefit  of  Mrs..  Kean,  who  appeared  as 
Elivina  in  the  tragedy  of  "Percy;"  Kean  himself 
enacting  Douglass,  which  he  followed  by  singing  a 
comic  song  between  the  play  and  farce ;  and  closed  the 
evening's  entertainment  as  Champanze,  the  monkey,  in 
"  Perouse ! " 

Kean's  movements  were  erratic  —  now  here  and 
now  there  —  often  penniless,  and  frequently  degrading 
his  profession  by  his  personal  dissipation.  Kean,  while 
at  Guernsey,  neglected  the  opportunities  of  cultivating 
an  intimacy  with  members  of  a  higher  grade  of  society, 
and  sought  that  of  smugglers,  and  so  low  down  did  he 
get  that  the  company  left  him  there,  in  an  almost 
desperate  condition,  and  he  was  forced  to  give  an  even 
ing's  entertainment  of  recitations,  to  obtain  the  means 
of  leaving  the  island.  It  was  while  at  St.  Pierre,  that 
on  the  night  of  Kean's  benefit,  his  "  first-born  "  Howard, 
appeared  as  the  infant  Achilles,  in  a  ballet  of  action, 
got  up  for  the  occasion,  and  entitled  "  Chiron  and 


174  RECORD    OF    THE    BOSTON    STAGE. 

Achilles,"  in  which  Kean  himself  personified  Chiron. 
Howard  was  then  about  five  years  old,  and  as  fine  and 
interesting  a  boy  as  ever  gladdened  the  heart  of  a 
parent. 

Kean  passed  through  the  vicissitudes  incidental  to  a 
man  of  his  temperament  and  profession,  but  his  reputa 
tion  was  constantly  on  the  increase,  and  the  autumn  of 
1813  found  him  performing  at  Dorchester,  where  he 
was  barely  able  to  maintain  his  wife  and  two  children, 
Howard  and  Charles.  The  houses  were  very  slim,  and 
Kean  did  not  exert  himself;  and,  one  evening,  after  he 
had  played  but  indifferently,  he  was  addressed  by  a 
gentleman,  who  introduced  himself  as  Mr.  Arnold,  who, 
at  repeated  solicitations  of  Dr.  Drury,  had  been  de 
spatched  by  the  committee  of  Drury  Lane  Theatre, 
then  at  the  lowest  possible  ebb.  Mr.  Arnold  invited 
Kean  to  breakfast  with  him  the  next  day.  Kean  went 
home  in  an  agony  of  despair :  "  I  have  ruined  myself 
forever,"  said  he  to  his  wife,  "  Arnold  has  been  in  the 
house  these  two  nights.  I  have  been  playing  carelessly 
and  gagging ;  for  who  can  play  to  such  houses  ?  "  His 
wife's  judicious  reply  was,  "  It  is  fortunate  for  you, 
you  were  ignorant  of  his  presence,  or  you  would 
certainly  have  overacted  your  part."  After  a  sleepless 
night  Kean  met  Arnold ;  the  conference  was  brief,  an 
offer  was  made  and  accepted  for  his  appearance  at 
Drury  Lane.  Two  days  after  this  unexpected  turn  in 
his  affairs  —  this  brightening  of  the  horizon,  which 
chased  away  the  gloomy  clouds  which  heretofore  had 
dimmed  the  future  —  his  beloved  Howard  had  died. 
The  child  —  by  "  many  a  pang  endeared,"  as  we  have 
stated — was  one  to  gladden  the  heart  of  a  parent. 


RECORD    OF    THE    BOSTON    STAGE.  175 

There  was  a  singular  beauty  and  expression  in  every 
feature  of  his  fair  face  —  an  intellectual  joyousness  and 
spirit  in  his  bright  eyes.  His  early  death  carried 
sorrow  to  his  parent's  heart,  and  deprived  the  world,, 
perhaps,  of  one  who  might  have  filled  his  father's 
place,  without  inheriting  his  father's  vices. 

Kean  met  on  his  arrival  in  London  the  troubles  inci 
dental  to  an  actor,  but  patiently  did  he  encounter  them 

—  checking  the  promptings  of  his  proud  heart.     The 
great  day  arrived ;  it  was  the  26th  of  January,  1814. 
To  one  it  was  to  decide  his  future  life,  for  upon  his  suc 
cess  depended  all.     The  audience  was  a  very  thin  one. 
After  having  greeted  the  new  ShylocTc  with  the  custom 
ary  reception,  all  was  painfully  silent  until  the  passage 
was  reached,  where  Shylock  says :  — 

"The  man  is,  notwithstanding,  sufficient; — three  thousand  ducats;. 

—  I  think  I  may  take  this  bond. 

"  Bassanio.  —  Be  assured  you  may. 

"  Shylock.  —  I  will  be  assured  I  may ;  and  that  I  may  be  assured  I 
will  bethink  me,"  etc.,  etc. 

"  I  will  be  assured  "  was  a  new  point  —  it  moved  the 
audience ;  and  "  then,"  as  Kean  expressed  it,  "  then, 
indeed,  I  felt,  I  knew,  I  had  them  with  me  ! "  Appro 
bation  ripened  into  enthusiasm  ;  the  few  who  had  come 
there  were  startled,  for  though  his  voice  was  harsh,  his 
style  new,  his  action  abrupt  and  angular,  there  was  the 
inspiration  of  genius  in  the  look,  the  tone,  the  bearing 
of  the  hard,  unbending  Jew,  which  was  too  powerful  to- 
escape  their  notice.  That  night  was  the  starting-post 
of  the  course  upon  which  he  was  destined  to  run  his 
splendid  race.  For  a  period  of  nineteen  years  did 
Kean  pursue  an  extraordinary  career  —  to  allude  to 


176  RECORD    OF    THE    BOSTON    STAGE. 

the  events  of  which,  or  to  convey  an  idea  of  his  talents, 
is  a  task  we  shall  not  attempt,  aware  of  our  total  in 
ability  to  do  justice  to  the  man,  in  the  space  we  have 
allotted  to  this  sketch.  With  the  genius  to  have  been 
more  than  a  Garrick  in  his  art,  he  had  the  follies  and 
passions  at  times  to  reduce  him  almost  beneath  a  Cooke 
in  his  habits. 

One  scene  in  his  life,  we  cannot,  in  closing  this 
outline  of  Kean's  life,  omit,  as  it  introduces  one  who  is 
still  living,  and  who  has  himself  filled  no  minor  place 
in  the  theatrical  world.  Edmund  Kean,  aware  of  the 
caprice  of  public  favor,  had  determined  to  discounte 
nance  his  son,  the  present  Charles  Kean,  from  embrac 
ing  that  profession  in  which  he  himself  had  risen  to 
such  eminence,  and,  through  the  interest  of  his  friend, 
Lord  Essex,  procured  for  him  an  appointment  as  cadet 
in  the  service  of  the  East  India  Company.  But  when 
Kean  imagined  that  every  arrangement  was  completed, 
he  found  his  son's  anxiety  for  the  welfare  of  his  mother 
so  great,  and  his  apprehension  so  strong,  lest,  by  any 
reverse  of  his  father's  prospects,  she  might  be  exposed 
;to  misfortune  or  suffering  during  his  absence  from 
Europe,  that  he  had  resolved,  firmly  and  immovably, 
to  remain  in  England,  and  seek  for  reputation  and 
wealth  on  the  stage.  It  was  not  for  some  years,  and, 
indeed,  until  in  consequence  of  some  misunderstanding 
with  the  lessee  of  Drury  Lane  Theatre,  that  he  with 
drew  from  that  theatre,  and  hastily  concluded  an  en 
gagement  with  M.  Laporte  at  Covent  Garden,  that  he 
ever  became  so  far  reconciled  to  his  son's  adoption  of 
the  profession  as  to  consent  to  appear  in  the  same  play, 
or  even  on  the  same  boards  with  him.  But  Laporte, 


RECORD    OF   THE    BOSTON    STAGE.  177 

rightly  estimating  the  attraction  that  the  appearance  of 
father  and  son,  as  the  representatives  of  two  such  char 
acters  as  Othello  and  lago  would  prove,  rendered  that 
condition  the  sine  qua  non  of  the  arrangement.  They 
were  accordingly  announced  for  the  25th  of  March, 
1833,  and  a  house  crowded  in  every  part  justified  the 
most  sanguine  anticipations  of  their  success.  "  The 
scene  in  which  the  Moor  appeared,  followed  by  '  mine 
ancient,'  can  never  be  forgotten,"  observes  an  eye-wit 
ness,  "by  those  who  beheld  it."  The  applause  was 
tumultuous  —  the  spirit  of  enthusiasm  pervaded  all  — • 
and  never,  perhaps,  were  the  generous  sympathies  of  an 
audience  more  displayed  than  at  that  moment.  It  was 
a  spectacle  never  to  be  forgotten,  to  see  the  great  tra 
gedian,  the  only  Othello  of  the  modern  stage,  leading  for 
ward  that  son,  —  attesting,  with  a  father's  pride,  their 
perfect  reconciliation, —  enjoying  the  paternal  triumph 
which  his  success  at  so  early  an  age  could  not  fail  to 
excite  in  such  a  heart  as  Kean's,  —  presenting  him  to 
those  from  whose  hand  he  had  himself  won  the  meed 
of  high  renown,  as  a  worthy  competitor  for  the  garland 
of  dramatic  fame  which  they  had  conferred  upon  him, 
whenever  the  hand  of  time  should  snatch  it  from  his 
own  brow.  Bat,  if  all  hearts  beat  high  with  joy  and 
exultation  in  that  scene,  what  were  the  sensations  with 
which,  after  the  delivery  of  the  passage  in  which  Kean 
breathed,  in  tones  of  soul-subduing  pathos,  the  anguish 
—  the  all  but  mortal  agony  of  an  o'ercharged  heart  — 
giving  its  last  sigh  of  desolation  and  despair  to  the 
wreck  of  all  its  hopes,  of  all  its  happiness  —  the  last 
"  farewell "  to  the  hero's  ambition,  to  the  soldier's  glory, 
to  the  husband's  cherished  bliss,  to  the  human  weakness, 
12 


178  RECORD    OF    THE    BOSTON    STAGE. 

the  sympathies  and  the  affections  of  the  man  —  the 
mournful  melody  of  his  voice  coming  over  the  spirit 
like  the  desolate  moaning  of  the  blast  that  precedes  the 
thunder-storm  —  he  faltered  forth  the  words,  "  Othello's 
occupation  's  gone  !  "  and  sank  almost  exhausted  on  the 
arm  of  his  son.  A  sudden  and  a  saddening  conviction 
smote  every  heart,  that  the  last  effort  of  the  tragedian 
was  then  made,  and  that  the  stage  had  lost  its  brightest 
ornament.  Upon  Mr.  Charles  Kean  devolved  the  mel 
ancholy  but  filial  duty  of  bearing  his  exhausted  father 
from  the  field  of  his  former  triumphs,  and  from  the  eyes 
of  those  whom  he  had  so  often  moved  to  admiration,  to 
wonder,  to  enthusiasm,  to  pity,  and  to  tears.  Mr.  Kean 
was  removed  to  his  house  at  Richmond,  where  every 
attention  was  paid,  but  in  vain.  He  lingered  until 
twenty  minutes  past  nine  o'clock  in  the  morning  of 
Wednesday,  the  15th  of  May,  1833,  when  he  tranquilly 
expired. 

In  person,  Mr.  Kean  was  scarcely  of  the  middle 
height,  and  was  accordingly  deficient  in,  the  dignity  of 
deportment  requisite  for  certain  characters,  as  that  of 
the  noble  Roman,  Coriolanus.  His  features,  though 
not  sufficiently  regular  to  be  termed  handsome,  were 
capable  of  almost  illimitable  expression  ;  his  eyes,  as  it 
were,  played  with  the  passions  in  the  very  spirit  of 
mastery ;  his  voice  in  the  undertones  boomed  with 
melancholy  music,  and  in  sudden  transitions,  abounded 
with  fine,  meteor-like  effect ;  and  although,  as  we  have 
said,  he  was  not  of  dignified  stature,  he  walked  the 
stage  with  ease  and  self-possession  attainable  only  by 
true  genius.  We  have  not  alluded,  in  the  above,  to 
many  incidents  in  Kean's  life,  which  mark  his  "  evil 


RECORD    OF   THE    BOSTON    STAGE.  179 

hours."  Plays  were  often  omitted  or  changed  through 
his  caprice,  and  while  intoxicated,  he  has  insulted 
audiences  of  the  highest  respectability.  On  one  occa 
sion  while  in  Glasgow,  the  fourth  act  of  a  play  —  to 
favor  Mr.  Kean,  who  had  been  too  free  in  the  indul 
gence  of  his  social  qualities  in  the  afternoon  —  was 
shortened.  The  audience  deemed  this  an  unwarrant 
able  innovation,  and  after  the  manager  had  come 
forward,  and  vainly  endeavored  to  restore  peace,  Mr. 
Kean  appeared  and  motioned  to  be  heard.  Silence 
being  obtained,  he,  with  a  look  of  ineffable  disdain, 
turned  up  his  countenance  to  the  galleries,  and  address 
ed  the  gods  with  — "  What  is  your  pleasure,  gentle 
men  ? "  As  these  gentlemen  had  commenced  the 
uproar,  and  as  the  way  in  which  Mr.  Kean  expressed 
this  address  was  so  laconic,  it  had  an  instantaneous 
effect  on  those  of  the  lower  regions,  and  they  completely 
outdid  the  celestial  inhabitants  in  their  turn  with  their 
shouts  of  applause.  Mr.  Kean,  however,  gave  a  care 
less,  inanimate,  and  uninteresting  representation,  and 
lost  cast  there  as  elsewhere,  by  his  neglect  of  that 
courtesy  which  the  public  can  demand  of  an  actor,  as 
their  right,  and  the  omission  of  which  justly  merits  the 
severest  reprobation.  Other  instances  might  be  given 
of  Kean's  short-comings,  one  or  more  of  which  we  shall 
have  occasion  to  allude  to  as  local  events. 


180  RECORD    OF    THE    BOSTON    STAGE. 


CHAPTER    XII. 

Kean's  First  Appearance  in  Boston.  —  The  Rush  for  Tickets.  —  The 
Premiums  given  to  Charitable  Societies.  —  Kean's  Receipts.  —  Mr. 
•Thayer.  —  Master  Ayling.  — The  Sea  Serpent.  —  Death  of  Mr. 
Bray.  —  Death  of  Snelling  Powell.  —  Last  Appearance  of  Mr. 
Dickson.  —  Kean's  Return  to  Boston. —  His  Troubles.  —  The  Ec 
centric  Kemble.  —  Squibs  at  Kean,  etc.  etc. 

THE  announcement  that  Kean  was  to  appear  in 
Boston  created  an  excitement  quite  equalling  —  when 
we  take  into  consideration  the  population  of  the  city  — 
that  caused  by  the  notice  of  Jenny  Lind's  approach  to 
our  shores.  Mr.  Kean  had  already  passed  through 
the  principal  cities  of  the  Union,  and  had  everywhere 
been  received  with  the  greatest  applause.  The  New 
York  journals  had  vied  with  each  other  in  their  adula 
tion,  and  his  firm  friend,  the  late  M.  M.  Noah,  then 
editor  of  the  Advocate,  was  his  warm  eulogist,  and  sub 
sequent  to  his  troubles  became  his  apologist.  Mr. 
Kean,  "from  the  Theatre  Royal,  Drury  Lane,"  was 
announced  for  eight  nights  —  performances  on  Monday, 
Tuesday,  Thursday,  and  Friday  evenings.  The  rush 
for  tickets  for  the  opening  night,  was  great  —  people 
employing  men  to  procure  "  boxes,"  though  only  one 
"  box  "  was  sold  to  one  person  ;  but  after  the  first  night, 
the  tickets  were  sold  at  auction,  and,  with  a  generosity 
characteristic  of  Messrs.  Powell  and  Dickson,  the  pre 
miums  were  given  to  various  charitable  institutions. 
We  have  before  us  a  letter  to  the  managers  from 
Lewis  Tappan,  Esq.,  acknowledging  a  donation  of  $90 


RECORD    OF    THE    BOSTON    STAGE.  181 

for  the  Society  for  Employing  the  Poor ;  another,  from 
Ann  G.  Southack,  in  behalf  of  the  Methodist  Female 
Sewing  Society.  The  following  was  also  sent  to  the 
managers :  — 

At  the  Quarterly  Meeting  of  the  Managers  of  the  Boston  Dispensary, 
held  on  Friday,  April  13,  1821. 

Present  —  His  Honor  William  Phillips,  Joseph  Tilden,  Edward 
Tuckerman,  S.  H.  Walley,  Samuel  Snelling,  Edward  Phillips,  Gideon 
Snow,  T.  A.  Dexter,  Esqs.,  and  Rev.  Henry  Ware. 

It  was  Voted,  That  the  thanks  of  this  board  be  presented  to  the 
managers  of  the  Boston  Theatre,  for  their  liberal  donation  of  the  pre 
mium  money,  accruing  from  the  sale  of  box  tickets,  on  the  twenty- 
fourth  day  of  February,  1821. 

It  was  Voted,  That  the  secretary  be  a  committee  to  communicate 
to  the  managers  of  the  Boston  Theatre,  the  preceding  vote. 

A  true  copy  from  the  Record. 

Attest :  THOMAS  A.  DEXTER, 

Secretary. 

There  was  scarcely  a  society  in  the  city,  without 
regard  to  any  sectarian  feeling,  but  were  the  recipients 
of  a  portion  of  the  funds  thus  generously  given. 

Mr.  Kean  opened,  on  the  12th  of  February,  1821,  in 
"Richard."  The  house  was  crowded,  and  continued 
to  be  throughout  his  engagement ;  for  the  Kean  fever 
broke  out  and  raged  without  cessation.  His  acting  was 
the  all-engrossing  topic  of  fashionable  discussion,  and 
Kean  himself  became  the  lion  of  the  day.  His  engage 
ment  was  for  nine  nights.  He  shared  with  the  man 
agers  after  $1000  per  week,  and  had  a  clear  benefit ; 
and  the  engagement  resulted  in  his  adding  to  his 
treasury  the  neat  sum  of  $3302.68.  So  great  was  the 
rush  to  see  him,  that  he  was  re-engaged  for  six  nights 
more  at  £50  per  night  and  clear  benefit,  which  gave 
him  $2151.58.  The  last  night  of  his  re-engagement 


182  RECORD    OP    THE    BOSTON    STAGE. 

the  premiums  on  the  tickets  amounted  to  $640,  and 
though  thousands  of  dollars  were  thus  paid,  the  man 
agers  only  reserved  $500,  which  offset  sundry  extra 
expenses  incurred  to  better  accommodate  the  public. 

During  Kean's  visit,  he  appeared  as  Lear,  Hamlet^ 
Brutus,  in  Payne's  play,  and  other  leading  characters, 
performing  several  of  his  great  parts  as  he  only  could 
perform.  On  his  closing  night  after  the  tragedy,  he 
was  called  before  the  curtain,  and  the  cry  was  universal 
for  him  to  prolong  his  stay.  Mr.  Kean  expressed  his 
gratitude  for  the  marked  attention  which  had  been 
shown  him  by  the  public  and  by  many  distinguished 
persons,  and  regretted  that  engagements  at  the  South 
prevented  him  from  re-engaging  at  that  time ;  but 
should  any  circumstances  arise  which  he  could  avail 
himself  of,  to  revisit  what  he  was  pleased  to  style  the 
"literary  emporium  of  the  New  World,"  he  should 
certainly  embrace  it  with  heartfelt  satisfaction. 

Mr.  Thayer  —  a  gentleman  who  first  apjfeared  as 
Young  Norval  before  the  Philo  Dramatic  Society  — 
appeared  this  season,  and  Master  Ayling  made  his  ap 
pearance  as  a  singer.  On  the  4th  of  April,  1831,  Mrs. 
and  Miss  Pelby  (afterwards  Mrs.  Anderson)  took  a 
benefit,  when  Miss  Pelby  gave  a  new  garland  dance. 
The  sea  serpent  afforded,  at  this  time,  the  subject  of  a 
piece,  entitled  the  "Sea  Serpent,  or  Harlequin  in 
Gloucester,"  which  was  brought  out  for  Mr.  Bray's 
benefit.  Mr.  Bray  appeared,  we  believe,  but  a  few 
times  after  this  benefit,  which  took  place  in  the  spring 
of  1821.  He  was  then  taken  sick,  and  his  disease  —  a 
complication  of  disorders  —  baffled  the  skill  of  the 
faculty  of  this  city,  and  as  a  last  resort,  he  was  induced 


RECORD    OF    THE    BOSTON    STAGE.  183 

to  visit  his  native  land,  in  the  hopes  of  finding  health 
on  England's  shores.  lie  left  America,  where  he  had 
resided  for  seventeen  years,  in  the  spring  of  1822,  and 
reached  Leeds,  England,  in  June,  but  he  died  two  days 
after,  at  the  house  of  his  sister,  Miss  Bray,  the  day  on 
which  he  completed  his  fortieth  year.  His  eldest  son 
accompanied  him  on  his  trip.  As  a  professor  of  the 
drama,  Mr.  Bray  was  the  delight  of  those  who  wit 
nessed  the  exhibition  of  his  talents.  He  possessed 
considerable  talents  both  as  an  author  and  a  musical 
composer ;  and  as  a  private  individual,  no  man  was 
ever  more  highly  or  more  deservedly  respected. 

The  theatre,  this  year,  sustained  an  irreparable  loss 
in  the  death  of  Snelling  Powell  —  the  first  successful 
Boston  manager  —  who  died  on  the  8th  of  April,  1821, 
aged  sixty-three.  As  a  manager,  he  was  highly 
esteemed ;  as  an  actor  and  a  gentleman,  appreciated  by 
our  citizens.  Towards  the  latter  part  of  his  life,  he 
played  but  seldom.  The  celebrated  John  Hodgkinson 
pronounced  his  personations  of  such  parts  as  Lissardo, 
and  Spatterdash  to  be  the  neatest  he  had  seen  in 
America,  and  his  Romeo,  Richmond,  Barnwell,  and 
similar  characters,  were  always  respectable  and  often 
excellent. 

Though  born  —  as  we  have  stated  in  an  earlier  chap 
ter —  in  a  foreign  land,  he  had  passed  nearly  half  of  a 
longer  life  than  is  usually  allotted  to  man,  in  this  city, 
and  had  imbibed  a  respect  for  our  institutions.  To 
quote  from  an  obituary. notice :  —  "It  was  the  native 
land  of  his  children,  it  was  endeared  to  him  as  the 
scene  of  many  friendships  and  associations  ;  it  was  here 
that  he  had  found  friends,  a  home,  and  a  country ;  it 


184      RECORD  OF  THE  BOSTON  STAGE. 

was  here  that  he  had  prepared  a  tomb.  He  had  seen 
something  of  the  vicissitudes  of  life.  When  he  arrived 
in  Boston,  violent  prejudices  existed  against  the  estab 
lishment  of  a  theatre  ;  players  were  viewed  by  some  of 
the  narrow-minded  bigots  of  that  period  as  hardly 
entitled  to  the  common  privileges  of  humanity,  and 
even  the  more  liberal  almost  dreaded  contamination 
from  their  approach.  Mr.  Powell  was  prudent  enough 
to  pursue  a  course  of  upright  and  gentlemanly  con 
duct,  and  he  was  fortunate  enough  to  conciliate,  by 
that  course,  the  refined  and  the  liberal,  and  if  he  could 
not  win  the  favor  of  the  uncandid  and  uncharitable,  he 
did  at  least  disarm  their  enmity  of  some  portion  of  its 
malignity,  and  soften  the  obstinacy  of  the  ignorant.  It 
is  not  too  much  to  attribute  to  the  private  worth  and 
respectability  of  Mr.  and  Mrs.  Powell,  the  credit  of 
having  dissipated  much  of  the  prejudice  which  charac 
terized  our  puritanic  townsmen  in  1795.  They  have 
at  least  proved  that  actors  do  not  necessarily  belong  to 
the  inferior  ranks  of  society;  for  they  have  been 
examples  of  industry  and  prudence,  rising  from  a 
depressed  condition  to  affluence  and  respectability." 

Mr.  Powell  was  a  much-esteemed  member  of  the 
masonic  fraternity.  He  was  one  of  the  original  peti 
tioners  for  the  charters  of  Columbian  Lodge,  and  St. 
Paul's  R.  A.  Chapter,  and  had  repeatedly  held  the 
office  of  master  in  the  Lodge.  His  generosity  had 
there  often  been  tried  and  never  found  wanting.  His 
funeral  was  attended  by  a  large  number  of  those  who 
had  been  his  friends,  and  respected  him,  not  only  for 
his  excellent  taste  in  catering  for  public  amusements, 
but  for  those  sterling  qualities,  which  marked  him  as 


RECORD    OF    THE    BOSTON    STAGE  185 

an  honest  man  —  the  noblest  work  of  God.  He  was 
buried  under  Trinity  Church.  At  his  demise,  Mrs. 
Powell  became  interested  in  the  management  of  the 
theatre,  with  Messrs.  Dickson  and  Duff,  and  on  the  14th 
of  May,  she  took  her  benefit,  but  owing  to  her  recent 
domestic  affliction  did  not  appear.  Mr.  James  A.  Dick- 
son  volunteered,  and  appeared  as  Sir  Robert  Bramble, 
in  the  "  Poor  Gentleman,"  as  Will  Steady,  in  "  The 
Purse,"  and  Tag,  in  the  "Spoiled  Child," — his  last 
appearance  on  any  stage. 

In  the  early  part  of  May,  1821,  Kean —  having  con 
cluded  his  engagements  at  the  South,  and  most  of  the 
theatres  being  closed  for  the  season  —  signified  his 
intention  of  visiting  Boston.  Mr.  Dickson  wrote  to 
him  and  endeavored  to  dissuade  him  from  the  idea,  as 
it  was  the  dull  season  and  many  were  out  of  town,  and 
urged  him  to  postpone  his  visit  till  fall,  —  Kean  having 
then  announced  his  intention  of  remaining  a  twelve 
month.  To  this  Mr.  Kean  would  not  listen,  as  he  felt 
assured  he  could  draw  at  any  season.  He  accordingly 
came  and  opened  as  Lear  on  the  23d  of  May,  to  a  fair 
house.  The  second  night  he  appeared  as  Jaffier,  to  a 
slim  house,  and  on  Friday,  the  25th,  he  was  announced 
for  "  Richard  III."  Kean  went  to  the  theatre  at  the 
usual  time,  and  was  much  chagrined  to  find  only  a  very 
few  present,  and,  instead  of  performing  his  duty  of 
dressing,  walked  round,  stating  that  he  should  not  play 
to  bare  walls.  The  time  for  the  curtain  to  rise  having 
arrived,  Kean  was  solicited  by  the  managers  to  prepare, 
but  walking  to  the  front,  and  taking  a  view  of  the 
house  —  which  was  quite  thin  —  he  declared  it  would 
be  impossible  for  him  to  play.  Mr.  Dickson.  urged 


186  RECORD    OF    THE    BOSTON    STAGE. 

him  to  perform  that  night,  and  keep  good  faith  with 
the  public,  offering  to  release  him  from  his  engagement ; 
but  Kean  refused,  and  extending  his  hand,  invited  the 
manager  to  take  a  parting  drink,  as  it  was  his  intention 
to  leave  Boston  early  the  next  day.  Mr.  Kean  then 
left  for  his  hotel,  and  he  had  been  absent  but  a  short 
time,  when  the  boxes  filled  up,  and  there  was  a  fair 
house.  Mr.  Dickson  sent  word  to  Kean  that  Col. 
Perkins  and  other  distinguished  citizens  had  come  in, 
and  requested  him  to  return,  as  the  house  was  as  good 
as  some  that  Cooke  had  played  to  ;  but  he  was  inexora 
ble,  and  declined.  Among  the  audience  considerable 
impatience  was  manifested,  in  consequence  of  the 
unusual  delay  in  the  time  of  the  rising  of  the  curtain, 
and  about  ten  minutes  before  eight  o'clock,  Mr.  Duff 
went  in  front  and  addressed  the  assembly.  He  stated 
it  was  with  extreme  regret  and  embarrassment,  he  was 
under  the  necessity  of  declaring  that  Mr.  Kean,  after 
repeated  importunities  to  the  contrary,  had  positively 
refused  to  perform  that  night,  and  he  was  preparing  to 
leave  towp.  Mr.  Duff  then  expressed  a  wish  that  the 
audience  would  decide  whether  the  performances  should 
go  on  without  the  aid  of  Kean.  This  was  answered 
by  loud  affirmatives  from  all  parts  of  the  house ;  and 
Mr.  Duff  remarked  in  conclusion,  that  those  who 
desired  it,  could  have  their  money  returned  on  applica 
tion  at  the  box-office.  On  the  rising  of  the  curtain, 
there  was  another  call  for  the  manager,  and  the  per 
formers  were  directed  to  leave  the  stage.  Mr.  Duff 
again  appeared,  and  asked  the  pleasure  of  the  audi 
ence.  He  was  requested  to  state  the  reasons  of  Mr. 
Kean's  refusal  to  play,  to  which  he  replied,  it  was  for 


RECORD    OF    THE    BOSTON    STAGE.  187 

the  want  of  patronage.  There  were  a  few  disposed  to 
stop  the  play  ;  others  insisted  that  an  eccentric  indivi 
dual,  named  Kemblc,*  who  had  been  giving  readings 
and  imitations  of  Kean  should  appear,  but  order  was 
soon  restored,  and  the  play  proceeded  —  Brown  sus 
taining  the  part  of  Richard.  Early  the  next  morning, 
Kean  left  in  a  private  carriage,  and  proceeded  to  a 
neighboring  town,  where  he  awaited  the  arrival  of  the 
mail  stage. 

There  was  a  feeling  of  general  indignation  at  this 
unmanly  and  miserable  retreat.  He  had  come  against 
the  expressed  wishes  of  the  management,  and  he  was 
bound  according  to  every  principle  of  honor  and  usage, 
to  stand  the  hazard  of  the  die.  The  newspapers  of 
the  day  were  severe  in  their  remarks.  In  one  ap 
peared  the  following  :  — 

ONE  CENT  REWARD! 

RUN  away  from  the  "  Literary  Emporium  of  the  New  World,"  a 
stage-player,  calling  himself  KEAX.  He  may  be  easily  recognized 
by  his  misshapen  trunk,  his  coxcomical,  cockney  manners,  and  his 
bladder  actions.  His  face  is  as  white  as  his  own  froth,  and  his  eyes 
are  as  dark  as  indigo.  All  persons  are  cautioned  against  harboring 
the  aforesaid  vagrant,  as  the  undersigned  pays  no  more  debts  of  his 
contracting,  after  this  date.  As  he  has  violated  his  pledged  faith  to 
me,  I  deem  it  my  duty  thus  to  put  my  neighbors  on  their  guard 
against  him.  PETER  PUBLIC. 

Another  journal  —  the  Galaxy,  opposed  to  Kean  and 
his  acting  —  inserted  the  annexed: — 

*  Kemble  visited  Cambridge  to  give  his  readings,  but  before  he 
arrived  the  students  broke  the  benches  and  windows,  and  amused 
themselves  in  true  collegian  style.  Mr.  Kemble  shortly  after  reached 
the  hall,  and  looking  round,  said  he  came  there  to  amuse  the  students, 
but  as  they  had  succeeded  so  much  better,  in  amusmg  themselves,  it 
would  be  superfluous  for  him  to  proceed. 


188  RECORD    OF    THE    BOSTON    STAGE. 


THE  TWO  MURDERS. 

"  When  Cain  the  first  foul  murderer,  as  we're  told, 
His  righteous  brother  slew  in  days  of  old, 
God  drove  him  forth  and  damned  him  with  a  stain, 
That  all  might  know  the  guilty  wretch  again. 

"  But  modern  Kean — that  vagrant  cockney  wight 
Who  murders  sense  and  nature  every  night, 
•Forestalls  -his  doom,  vuns  off —  crack-pated  elf, 
Proves/bo^  as  well  as  knave,  and  damns  himself." 

The  feeling  against  Kean  was  not  confined  to  Boston. 
In  New  York  there  was  considerable  talk  upon  the  sub 
ject.  Soon  after  his  arrival  in  that  city  he  published 
the  following  letter :  — 

TO  THE  EDITOR  OF  THE  NEW  YORK  NATIONAL  ADVOCATE. 

1st  June,  1821. 

•"  SIR,  —  As  I  have  yet  some  months  to  remain  in  thisjcountry,  it  is 
my  earnest  wish  to  preserve  the  good  opinion  of  those  friends  who 
have  so  generously  and  nobly  manifested  their  approbation  of  my 
character  and  talents.  As  the  servant  of  the  public,  I  am  aware 
that  I  am  amenable  to  public  opinion  and  censure ;  and  if  the  public 
voice  declare  that  I  have  been  in  error,  I  am  ready  to  apologize  with 
all  du-e  submission.  But,  sir,  is  it  not  extraordinary,  that  the  offence 
with  which  I  am  charged  took  place  at  Boston,  with  the  concur 
rence  of  the  managers ;  with  the  approbation  of  friends,  with  whom 
I  afterward  spent  the  evening — gentlemen  of  fortune  and  literary 
acquirements ;  and  that  I  should  not  hear  any  dissatisfacton  expressed 
until  I  arrived  in  this  city  ?  I  passed  the  following  morning  at  Bos 
ton  tranquilly ;  and  on  my  arrival  at  Kew  York,  murmurs  of  disap 
probation  were  heard,  which  appeared  to  me  like  an  overwhelming 
avalanche  at  the  termination  of  a  brilliant  harvest. 

"  At  an  immoderate  expense,  and  with  all  that  additional  cost 
which  falls  to  the  lot  of  .a  stranger,  I  repaired  to  Boston  to  fulfil  my 
engagements.  Had  I  been  acquainted  with  the  customs  of  the  coun 
try,  I  should  have  made  different  arrangements ;  but  my  advisers 
never  intimated  to  me  that  the  theatres  were  only  visited  during  cer 
tain  sacfflJiis  of  the  year;  that  when  curiosity  had  subsided,  dramatic 


RECORD    OF    THE    BOSTON    STAGE.  189 

talent  was  not  in  estimation.  I  never  could  or  would  believe  that  the 
arts  in  this  country  were  only  encouraged  periodically,  or  that  there 
could  be  any  season  in  which  Shakspeare  was  diminished  in  value; 
but  as  I  am  now  initiated  in  these  mysteries,  I  shall  hereafter  profit 
by  my  experience. 

"  Sir,  I  live  by  my  professional  exertions.  Innumerable  family 
claims  are  satisfied  by  each  month's  disbursements — I  cannot  afford 
to  give  those  talents  away.  I  had  performed  two  of  my  principal 
characters,  without  hopes  of  remuneration  in  that  town,  where  my 
efforts  had,  two  months  before,  contributed  largely  to  augment  the 
public  charities.  I  repeat,  I  had  acted  two  characters  to  the  very 
extent  of  my  abilities  without  profit.  On  looking  through  the  cur 
tain,  at  seven  o'clock,  on  the  night  I  was  to  represent  Richard  the 
Third,  (that  character  which  has  been  the  foundation  of  my  fame 
and  fortune,)  I  counted  twenty  persons  in  front  of  the  theatre.  I 
then  decided,  hastily,  if  you  please,  that  it  Avas  better  to  husband  my 
resources  for  a  more  favorable  season,  and,  in  this  decision,  no.  dis 
respect  was  contemplated  to  the  audience,  slender  as  it  was.  The 
managers  apparently  concurred  with  me,  deplored  the  unfortunate 
state  of  the  times,  and  we  parted  in  perfect  harmony  and  confidence. 

"  It  was  my  intention  to  leave  America  on  the  close  of  my  south 
ern  engagements.  I  now  think  it  my  duty  to  return  again  to  Boston, 
and  in  person  vindicate  my  cause  at  the  season  when  those  who  most 
patronize  the  theatre  are  assembled.  The  public  have  treated  me 
with  the  greatest  liberality,  and  I  shall  ever  acknowledge  its  favors 
with  pride  and  gratitude.  At  the  latest  hour  I  shall  remember  those 
friends  by  whom  I  have  been  encircled,  and  whose  amity  and  confi 
dence  I  am  convinced  I  have  not  forfeited.  But  I  may  be  permitted 
to  say,  that  the  present  hostility  is  not  the  voice  of  the  public ;  it  is 
that  spirit  of  detraction  ever  attendant  on  little  minds  —  a  spirit 
which  watches  for  its  prey,  and  seizes  upon  transient  and  accidental 
occurrences  to  defame  and  destroy.  That  i*espectable  presses  in 
this  country  should  have  been  influenced  by  such  feelings,  and  de 
nounce  with  such  acrimony  and  bitterness,  is  to  me  extraordinary. 
'  There  is  something  in  it  more  than  natural,  if  philosophy  could  find 
it  out.' 

"  I  understand  some  gentlemen  have  asserted  that  I  have  acted  to> 
equally  bad  houses  in  England.  I  lament  that  they  are  driven  to- 
such  extremities ;  or,  rather,  that  they  should  compel  me  to  declare 
that  their  assertions  are  untrue.  The  present  existence  of  the  first 
theatre  in  Europe,  is  founded  on  the  abilities  which  they  affect  to 


190  RECORD    OF    THE    BOSTON    STAGE. 

despise.  The  provincial  managers  of  England,  Scotland,  and  Ireland, 
have  thankfully  rewarded  my  efforts  by  sums  equal  to  what  I 
receive  from  my  friend,  Mr.  Price,  the  worthy  and  efficient  manager 
of  the  theatre  in  this  city.  For  the  first  three  years  of  a  career  xm- 
precedented  in  dramatic  annals,  I  was  in  receipt  of  double  that  sum 
in  every  theatre  in  which  I  acted,  and  even,  allowing  a  trifling  dimin 
ution  in  the  space  of  seven  years,  what  am  I  to  think  of  a  city  in 
which  I  have  been  received  with  equal  enthusiasm,  and  witness  a 
total  desertion  in  the  space  of  three  months  ?  But  the  public  say  I 
was  too  precipitate,  —  that  I  should  have  performed  that  evening, 
and  then  closed  my  engagement.  Granted.  Our  feelings  frequently 
mar  our  better  judgments,  and  from  trifling  causes  lead  to  results 
which  we  subsequently  regret.  The  error  was  venal,  for  who  is 
exempt  from  error?  But  all  unprejudiced  people  will,  I  trust,  take 
into  consideration  the  unprofitable  labor  of  acting  Richard  the  Third 
to  a  solitary  few,  who  subsequently  acknowledged  themselves  per 
fectly  contented  with  the  gentleman  who  represented  the  character. 

"  I  am  now  convinced  that  the  fine  weather  was  my  chief  enemy, 
and  shall  again  resume  my  station  in  the  Boston  Theatre  before  I 
return  to  England. 

" I  beg  leave,  sir,  to  submit  this  'round  unvarnished  tale'  to  the 
consideration  and  decision  of  the  public ;  and  I  have  too  exalted  an 
opinion  of  their  justice  and  liberality  not  to  anticipate  a  verdict  in 
my  favor.  EDMUND  KEAN." 

This  called  forth  the  following  :  — 

TO   THE  PUBLIC. 

"  The  managers  of  the  Boston  Theatre,  having  suffered  not  only 
severe  mortification,  from  the  disappointment  experienced  by  the 
public,  but  a  heavy  pecuniary  loss,  from  Mr.  Kean's  non-fulfilment 
•of  his  engagement  with  them,  indulged  the  hope  that  they  should 
:-not,  in  addition,  be  accused  of  'concurring  in  any  offence  to  the  pub 
lic;'  Mr.  Kean's  statement,  however,  re-published  in  the  Boston 
paper  of  to-day,  has  reduced  them  to  the  unpleasant  alternative  of 
either  by  silence  admitting  the  truth  of  that  statement,  or  of  publicly 
disavowing  it.  They,  therefore,  respectfully  state,  that  Mr.  Kean's 
refusal  to  perform  the  part  of  Richard  the  Third,  was  not  only  with- 
•out  their  concurrence,  but  met  from  them  all  the  opposition  in  their 
power,  which  they  thought  decorous  and  gentlemanly.  This  course 
••was  dictated  by  a  sense  of  duty  that  they  owed  to  the  patrons  of  the 


RECORD    €>F   THE   BOSTON    STAGE.  191 

drama,  and  when  they  add,  that  he  was  not  to  receive  any  specific 
sum  for  his  services,  but  was  to  share  the  receipts  of  the  eight  nights, 
if  they  exceeded  a  certain  agreed  sum,  and  to  have  the  ninth  night 
clear  for  his  benefit,  it  will  appear  evident,  that  interest  as  well  as 
duly  would  prevent  them  from  concurring. 

"  The  managers  submit  this  statement  in  duty  to  the  public  and 
themselves,  not  from  any  hostility  to  Mr.  Kean. 

J.   A.    DlCKSON. 

JOHN  DUFF. 
"  Boston  Theatre,  June  4,  1821." 

Mr.  Kean,  previous  to  his  first  letter,  addressed  the 
following  to  Mr.  Dickson  :  — 

"  MY  DEAR  SIR,  — I  much  regret  the  occasion  of  my  abrupt  depar 
ture,  but  you  must  feel  with  me  that  my  professional  reputation 
must  not  be  trifled  with.  An  indifferent  house  to  such  plays  as 
"  Venice  Preserved,"  etc.,  however  well  acted,  may  be  found  in  the 
catalogue  of  histrionic  events,  but  a  total  desertion  of  the  public  to 
that  character  which  has  been  the  foundation  of  my  fame  and  fortune, 
requires  a  greater  portion  of  philosophy  than  I  am  master  of.  I  must 
lament  to  find  that  curiosity  alone  was  the  incitement  of  the  appar- 
rent  enthusiasm  that  attended  my  efforts  on  the  first  engagement.  I 
had  vainly  conceived  the  talent  not  the  novelty  had  attracted.  Be 
kind  enough  to  pay  into  Mr.  Tileston's  hands  my  portion  of  the  first 
night's  receipts.  I  am  dear  Sir, 

Yours,  etc., 

EDMUND  KEAN." 

The  above  bears  no  date,  and  as  will  be  seen  bears 
marks  of  a  slight  repentance  for  his  hasty  act.  The 
italics  are  Mr.  Kean's. 

A  second  letter  soon  followed  the  first ;  —  the  public 
feeling  had  increased  in  New  York,  and  a  riot,  if  Kean 
played,  was  feared  :  — 

MR.  KEAN'S  FAREWELL  TO  AMERICA. 

[From  the  New   York  National  Advocate  of  June  8th.] 

"  SIR,  —  As  I  find  it  impossible  for  individual  efforts  to  stem  the 

torrent  of  opposition  with  which  I  have  to  contend,  and  as  I  likewise 

t 


192  RECORD    OF    THE    BOSTON    STAGE. 

consider  it  inconsistent  with  my  feelings  and  character  to  make 
additional  apologies,  I  have  resolved  to  return  to  my  native  country, 
and  beg  leave  to  offer  to  the  public  my  thanks  for  that  portion  of 
favor  bestowed  on  me,  and  respectfully  bid  them  farewell. 

"Had  I  been  aware  of  the  enormity  of  the  offence  which  has 
excited  so  much  indignation,  I  certainly  should  not  have  permitted 
my  feelings  to  interfere  with  my  interest. 

"  The  '  very  head  and  front  of  my  offending '  amounts  to  this :  an 
actor,  honored,  patronized  by  his  native  country,  and  enjoying  a 
high  rank  in  the  drama,  withheld  his  services  under  the  impression 
that  they  were  not  duly  appreciated;  and  so  much  do  I  fear  the 
fraility  of  my  nature,  that  it  is  not  improbable,  under  the  same  cir 
cumstances,  I  might  be  tempted  to  act  in  the  same  manner.  I  there 
fore  think  it  proper  to  leave  the  theatre  open  to  such  compeers, 
whose  interests  it  may  be  to  study  the  customs,  and  not  offend  them 
by  my  presence  any  longer. 

"  Before  I  left  England,  I  was  apprized  how  powerful  an  agent  the 
press  was  in  a  free  country,  and  I  was  admonished  to  be  patient 
under  the  lashes  that  awaited  me ;  and,  at  a  great  sacrifice  of  feel 
ing,  I  have  submitted  to  their  unparalleled  severity  and  injustice.  I 
was  too  proud  to  complain,  and  suffered  in  silence ;  but  I  have  no 
hesitation  in  saying,  that  the  conduct  I  pursued  was  that  which 
every  man  of  reputation  would  pursue  under  the  same  circumstances, 
in  that  country  where  Shakspeare  was  born  and  Garrick  had  acted. 

"  Again,  I  disclaim  any  intention  of  offending;  and  although  every 
natural  domestic  tie,  as  well  as  the  public  love,  await  me  on  my  own 
shores,  it  is  with  reluctance  and  regret  I  leave  my  friends  in  America. 

EDMUND  KEAN." 

This  appeared  June  8th,  the  day  after  Kean  sailed 
in  the  Martha  for  Liverpool,  and  the  subsequent  day  a 
third  letter  was  published  in  the  Advocate.  It  was 
addressed  to  M.  M.  Noah,  Esq.,  the  Editor :  — 

"OFF  SANDY  HOOK,  June,  1821. 

"  DEAK  SIR,  —  Impress  upon  the  public  mind  that  I  do  not  leave 
America  but  with  the  most  sincere  impressions  of  admiration  and 
respect;  and  though  I  have  temporarily  yielded  to  the  torrent  of 
hostility,  which  I  was  too  proud  to  contend  against,  still,  on  the  ter- 


RECORD    OF   THE    BOSTON    STAGE.  193 

initiation  of  my  Drury  Lane  engagement,  I  shall  return  again  to 
share  the  favor  of  those  friends,  whom  I  shall  ever  rank  foremost  in 
my  affections,  in  whatever  climate  fortune  may  dispose  me. 

EDMUND  KEAN." 

It  was  during  this  visit  to  America  that  Mr.  Kean 
caused  the  body  of  Cooke  to  be  disinterred,  and  re 
moved  to  an  eligible  spot  in  St.  Paul's  church-yard, 
near  the  corner  of  Broadway  and  Vesey  streets.  The 
monument  over  the  remains  is  in  marble,  and  consists 
of  a  square  pedestal  on  two  steps  surmounted  by  an 
urn,  from  the  top  of  which  a  flame  issues.  The  in 
scription  on  the  tomb,  which  was  furnished  by  Dr. 
Francis,  who  superintended  the  removal  of  the  remains, 
is  as  follows :  — 

"  Erected  to  the  Memory  of  GEORGE  FREDERICK  COOKE,  by  Edmund 
Kean,  of  the  Theatre  Royal,  Drury  Lane,  1821. 

'  Three  kingdoms  claim  his  birth, 
Both  hemispheres  pronounce  his  worth.'  " 

The  Boston  Theatre  soon  after  closed.     The  com 
pany  visited  Portland  during  the   summer,  and  Mrs. 
Powell  released  the  theatre  for  three  years. 
13 


194  RECORD    OF    THE    BOSTON    STAGE. 


CHAPTER   XIII. 

The  Act  of  Incorporation.  —  Tom  Kilner.  —  Labassc.  —  Samuel  Wood- 
worth.  —  Boston  a  City.  —  Booth's  First  Appearance  in  Boston.  — 
Biographical  Sketch  of  Booth.  —  Remarks  on  his  Acting.  —  Appear 
ance  of  Miss  Elizabeth  Powell.  —  George  Barrett.  —  Announcement 
of  Mr.  Finn's  Appearance.  —  A  Biographical  Sketch  of  Henry  J. 
Finn,  etc.  etc. 

THE  business  of  the  theatre  had,  previous  to  this 
year,  been  managed  by  the  trustees  of  the  theatre,  but 
it  was  found  so  inconvenient  to  carry  out  the  joint-stock 
principle,  that  an  act  of  incorporation  was  applied  for, 
which  was  granted  by  the  legislature,  on  the  16th  of 
June,  1821. 

The  theatre  for  the  season  of  1821-2  opened  on  the 
19th  of  September,  under  the  acting  management  of 
Messrs.  Kilner  &  Clarke.  The  house  had  been  re 
painted,  and  a  large  audience  was  assembled  to  witness 
the  "  Foundling  of  the  Forest,"  in  which  Messrs.  Duff, 
Thayer,  Clarke,  Moreland,  Perkins,  J.  Mills  Brown 
(first  appearance  in  Boston),  with  Mrs.  Drummond, 
Mrs.  Parker,  Mrs.  Barnes,  and  Mrs.  Powell  appeared. 
Mr.  Spear,  formerly  of  the  Washington  Gardens,  also 
appeared  this  season.  On  the  28th  of  September,  Kil 
ner  made  his  first  appearance  before  a  Boston  audience 
as  Sir  Anthony  Absolute,  his  wife  appearing  as  Lucy. 
They  were  warmly  received,  and  time  justified  the  pre 
diction  then  made,  that  they  were  great  acquisitions  to 
the  company.  Mr.  Kilner  is  still  living  in  Ohio.  Mr. 
Cooper  played  an  engagement,  and  Mr.  Hilson,  Mrs. 


RECORD    OF    THE    BOSTON    STAGE.  195 

J.  Barnes,  and  Mrs.  Holman,  a  singer  of  merit,  with 
Phillips,  who  was  here  in  1813,  were  among  the  stars. 
Mrs.  Holman  and  Phillips  did  well,  and  the  receipts 
on  the  last  night  of  Mrs.  H.'s  engagement,  when  she 
took  her  benefit,  amounted  to  $806.  During  the  season, 
"  La  Belle  Peruvienne,"  a  ballet,  was  produced  under 
the  direction  of  Monsieur  Labasse,  and  Samuel  Wood- 
worth,  the  author  of  the  "  Moss-covered  Bucket," 
brought  out  a  play  entitled  "  The  Deed  of  Gift,"  which, 
however,  met  with  a  poor  reception,  and  was  almost 
immediately  shelved.  In  1822,  the  act  of  the  legisla 
ture  was  passed  conferring  upon  Boston  the  name  and 
privileges  of  a  city ;  and  on  Monday,  April  8th,  the 
first  city  election  took  place,  which  resulted  in  no 
choice.  On  this  evening  Mr.  Duff  took  his  benefit,  but 
the  adherents  of  Quincy  and  Otis  were  too  much  occu 
pied  to  attend  the  drama,  and  the  result  was  any  thing 
but  gratifying  to  the  beneficiary.  On  the  second  trial, 
the  Hon.  John  Phillips  was  chosen  mayor,  and  the 
political  excitement  had  had  time  to  die  away,  when 
the  advent  of  Junius  Brutus  Booth  was  announced. 
The  first  appearance  of  this  great  actor  in  Boston, 
where  for  so  many  years  he  has  attracted  those  most 
conversant  with  the  different  schools  of  acting,  and  has 
delighted  elsewhere  the  most  critical  audiences  in  the 
world  by  his  masterly  impersonations,  occurred  on  the 
6th  of  May,  1822.  He  made  his  appearance  as  Richard, 
a  character  which  he  is  identified  with  wherever  he  has 
performed.  His  acting  then  received  the  applause  of  a 
Boston  audience  ;  and  up  to  his  last  appearance  in  this 
city  prior  to  his  death,  he  retained  the  position  he  so 
eminently  deserved.  During  his  first  engagement,  he 


196  RECORD    OF    THE    BOSTON    STAGE. 

performed  Sir  JZdward  Mortimer,  Sir  Giles  Overreach, 
Octavian,  and  for  his  benefit  Hamlet,  which  drew  an 
eight-hundred-dollar  house.  There  was  a  chasteness 
in  Booth's  earlier  delineations,  which  never  failed  to 
command  approbation.  His  voice,  which  latterly  had 
lost  its  mellow  tones,  was  most  musical,  and  though 
as  Richard  he  had  at  the  time  of  his  death  no  equal  on 
the  stage,  his  impersonation  had  lost  the  vigor  of  his  more 
youthful  days.  Booth's  acting  always  evinced  genius. 
Like  Edmund  Kean,  there  was  inspiration  in  his  em 
bodiment  of  Shakspearian  characters,  and  even  when 
the  words  were  lost  to  the  hearing,  the  eye  needed  no 
vocal  interpreter,  for  Booth,  more  than  any  actor  we 
have  ever  seen,  possessed  the  power  of  combining  a 
meaning  in  every  gesture,  and  a  silent  glance  was 
equivalent  to  a  delivered  sentence.  As  a  soliloquist, 
Booth  excelled.  With  many  actors,  all  soliloquies  seem 
like  so  many  title-pages  to  the  succeeding  acts,  but 
Booth  avoided  all  strains  after  startling  points,  and 
gave  to  such  passages,  both  in  "  Hamlet "  and  "  Rich 
ard,"  an  interest  without  destroying  the  unity  of  the 
play.  The  part  of  Richard,  it  has  been  remarked,  is 
beyond  all  others  variegated,  and  consequently  favor 
able  to  a  judicious  performer.  Booth's  acting  in  the 
scene  with  Lady  Anne,  and  the  tent  scene  in  the 
"Richard,"  was  unequalled  by  any  performance  of 
modern  days  ;  and  though  there  are  portions  of  the 
Apostate  and  Sir  Giles  Overreach  which  command 
admiration,  his  master-piece,  we  think,  was  that  portion 
whe*re  Richard  starts  out  of  his  dream  and  exclaims, 
"  Give  me  another  horse  ! "  etc.  The  intensity  of  his 
acting,  the  admirable  conception  of  the  part,  and  the 


KECORD    OF   THE   BOSTON    STAGE.  197 

delineation  of  remorse,  hatred,  and  repentance,  which 
alternately  harrow  the  soul  of  the  hypocrite  and  mur 
derer,  rendered  this  scene  the  best,  if  not  the  very  best, 
in  all  Booth's  range  of  character. 

A  brief  biographical  sketch  of  this  actor  may  not  be 
inappropriate.  Booth  was  said  to  be  a  descendant  of 
the  celebrated  Barton  Booth,  the  greatest  English  actor 
of  ancient  times,  but  this  fact  seems  not  to  be  Avell 
authenticated.  His  father  was  an  attorney,  his  mother 
lineally  descended  from  the  celebrated  John  Wilkes. 
The  elder  Booth,  a  warm  admirer  of  the  writings  of 
Junius,  named  his  son  (who  was  born  at  St.  Pancras, 
near  London,  on  the  1st  of  May,  1796,)  after  the  object 
of  his  admiration,  adding  thereto  that  of  Brutus,  over 
which  signature  the  illustrious  incognito  sometimes 
wrote.  In  his  younger  days,  he  was  remarkable  for 
his  love  of  drawing  and  painting,  the  pursuit  of  which 
studies,  however,  he  soon  abandoned,  and  entered  the 
navy  as  a  midshipman.  His  father's  opposition  to  such 
a  life  induced  him  to  commence  printing,  which  he 
gave  up  for  the  law.  But  Themis  had  few  charms  for 
him,  and  he  applied  himself  to  sculpture,  from  which 
he  soon  turned  to  his  final  profession,  the  stage.  His 
debut  was  at  a  cow-house  in  Pancras  street,  Tottenham- 
court-road,  as  Frank  Rochdale,  in  "John  Bull."  Here 
he  played  Buckingham,  and  on  one  occasion  read 
Collooney,  in  the  "  Irishman  in  London."  He  soon 
joined  a  strolling  company,  and  made  his  regular  debut 
at  Peckham  on  the  13th  of  September,  1813,  as  Cam- 
pillo,  in  the  "  Honey  Moon."  With  this  company  he 
performed  at  Ostend,  Amsterdam,  Antwerp,  Brussels, 
and  Ghent.  At  Brussels  he  made  a  hit  as  Megrine. 


198       RECORD  OP  THE  BOSTON  STAGE. 

Here  he  was  married.  After  some  difficulty  lie  suc 
ceeded  in  obtaining  an  engagement  at  Covent  Garden, 
and  in  October,  1813,  played  for  the  first  time  in  Lon 
don,  enacting  Sylvius  in  "  As  You  Like  It."  When  at 
Covent  Garden,  before  the  brilliancy  of  his  talent  had 
dazzled  all  eyes,  it  is  recorded  that  the  celebrated  Miss 
Sarah  Booth,  the  leading  actress,  and  a  great  favorite 
by  reason  of  her  great  personal  beauty  as  well  as 
dramatic  ability,  requested  him  to  add  an  "  e  "  to  avoid 
being  mistaken  as  her  relative.  The  riots  at  Covent 
Garden  in  1817,  of  which  Booth  was  the  cause,  are  too 
familiar  to  need  notice  here.  Leaving  this  theatre,  he 
played  the  "  Lear  of  Private  Life  "  at  the  Coburg,  which 
he  left  for  Drury  Lane.  In  1820  he  had  a  rencontre 
with  "  II  Diavolo  Antonio,"  and  soon  after  he  left  for 
America.  His  debut  in  America  took  place  at  Rich 
mond,  on  July  13th,  1821,  as  Richard.  On  the  5th  of 
October  he  opened  in  the  same  part  in  New  York.  In 
1825  he  left  his  farm  at  Bel-Air,  Maryland,  whither 
he  had  sojourned  for  some  months,  and  returned  to 
England,  opening  at  Drury  Lane  as  Brutus.  His  visit 
was  of  short  duration,  and  he  again  crossed  the  water. 
During  his  first  visit  to  New  Orleans,  he  appeared  as 
Oreste  in  Racine's  "  Andromaque,"  at  the  French  the 
atre,  and  the  purity  of  his  accent  perfectly  electrified 
the  Frenchmen,  who  crowded  the  house  on  the  evening 
in  question.  Shortly  after  this  singular  freak,  he 
passed  some  time  at  the  "  Hermitage,"  by  invitation  of 
Gen.  Jackson.  In  September,  1831,  Mrs.  Booth,  one 
of  the  most  beautiful  women  of  her  day,  first  trod  the 
boards  at  the  Holiday  street,  Baltimore,  as  Rosalie 
Somers  to  her  husband's  Reuben  Glenroy.  This  lady 


EECORD    OF   THE    BOSTON    STAGE.  199 

remained  but  a  short  time  on  the  stage,  yet  gained  an 
enviable  reputation  for  her  impersonation  of  the  above 
part  and  of  Susan  Ashfield.  On  one  occasion,  in  Bal 
timore,  Booth  appeared  as  the  second  actor  to  Charles 
Kean's  Hamlet,  and  at  the  conclusion  of  the  soliloquy, 
"  Thoughts  black,"  etc.,  the  audience  rose  en  masse,  and 
cheered  him  to  the  echo.  On  October  27th,  1832, 
Booth  played  Old  Norval  to  the  Young  Norval  of  Wm. 
"Warren,  the  favorite  comedian  of  this  city,  it  being  the 
debut  of  that  gentleman.  In  1836,  Mr.  Booth,  for  the 
last  time,  visited  his  native  country,  where  he  remained 
nearly  a  year,  returning  thence  to  the  land  of  his  adop 
tion.  Since  then  his  career  is  well  known.  Probably 
no  actor  ever  gave  rise  to  more  of  anecdote,  both  myth 
ical  and  recital,  than  Mr.  Booth.  His  numerous  eccen 
tricities  would  fill  a  volume.  "  The  Actor,  or  A  Peep 
behind  the  Curtain :  Being  Passages  in  the  Lives  of 
Booth  and  some  of  his  Contemporaries,"  published  in 
New  York  in  1846,  gives  the  best  life  of  the  gifted 
tragedian  we  have  yet  met  with.  Mr.  Booth's  last 
appearance  in  this  city  was  at  the  Museum,  as  Richard, 
on  October  31st,  1851. 

Mr.  Booth  subsequently  visited  California,  where  he 
was  very  successful,  and  then  returned  to  play  his  last 
drama  on  the  boards  of  the  St.  Charles,  New  Orleans. 
His  last  appearance  on  the  stage  was  on  Friday,  Nov. 
19th,  as  Mortimer  and  John  Lump.  Mr.  De  Bar,  (a 
connection  of  Mr.  Booth,)  was  the  Sampson,  and  Mark 
Smith  the  Winterton  of  the  evening.  The  Picayune 
says  of  the  occasion  :  —  "  The  St.  Charles  Theatre  was 
crowded  last  evening  for  the  benefit  of  this  veteran 
performer.  Many  ladies  graced  the  dress  circle  with 


200  RECORD    OF   THE    BOSTON    STAGE. 

their  presence.  *  *  *  *  Mr.  Booth  appeared  in 
his  favorite  character  of  Mortimer.  To  say  that  he 
enacted  it  in  a  style  that  delighted  every  one,  would 
be  speaking  without  exaggeration.  Indeed  every  suc 
cessful  performance  during  his  two  brief  engagements 
appeared  to  show  Mr.  Booth's  powers  to  better  advan 
tage,  and  the  regret  is  general  that  he  should  stay  so 
short  a  time  with  us.  Talent  like  that  he  possesses  is 
so  rare  now-a-days,  when  respectable  mediocrity  is  the 
chief  qualification  of  the  American  stage,  that  we  can 
not  make  up  our  minds  to  part  with  Mr.  Booth  until 
we  have  at  least  seen  all  the  faces  of  the  jewel  of 
dramatic  genius,  whose  brilliancy  has  illumined  his 
name  not  only  for  the  present  generation,  but  for  pos 
terity.  Mr.  Booth  was  called  out  after  the  play,  and 
again  after  the  farce,  —  the  famous  one  of  the  Review. 
Public  curiosity  was  much  excited  to  see  him  in  a  part 
so  opposite  to  the  tragic  character  he  had  represented 
in  the  early  part  of  the  evening,  and  it  was  difficult  to 
recognize  in  the  stupid,  awkward  Yorkshire  clown, 
John  Lump,  the  form,  and  face,  and  voice,  that  moved 
the  audience  in  Shylock,  Bertram,  and  such  powerful 
characters." 

While  in  New  Orleans,  Mr.  Booth  contracted  a 
violent  cold,  which  greatly  enfeebled  him.  He  took 
passage  on  the  steamer  J.  S.  Chenoweth,~intending  to 
return  home,  but  on  the  30th  of  November,  1852,  at 
noon,  while  on  the  Mississippi,  he  died,  his  disease 
having  turned  into  consumption  of  the  bowels.  For 
three  days  before  his  death  he  had  become  speechless. 
On  the  llth  of  December,  his  burial  took  place  at 
Baltimore,  from  his  residence  in  North  Exeter  street, 


RECORD    OF   THE    BOSTON    STAGE.  201 

and  was  attended  by  the  relatives  of  the  deceased,  the 
Baltimore  Dramatic  Association,  who  were  very  numer 
ously  represented,  the  various  members  of  the  Baltimore 
orchestras,  and  a  large  number  of  personal  friends.  The 
train  proceeded  to  the  Baltimore  cemetery,  where  Vol- 
landt's  band  performed  an  appropriate  and  impressive 
dirge,  composed  for  the  occasion. 

Mr.  Booth's  claims  to  authorship  rest  solely  upon 
"  Ugolino,"  one  of  the  best  productions  of  the  modern 
stage,  a  work  possessing  great  poetry  of  diction  and 
nervousness  of  style.  It  was  originally  written  for  Mr. 
and  Mrs.  Henry  Wallack,  who  first  produced  it  at  the 
Chesnut  St.,  April  20th,  1825,  sustaining  the  principal 
characters  of  Ugolino  and  Angelica.  Mr.  John  R.  Scott 
has,  we  believe,  of  late  years,  possessed  the  right  of 
representing  it,  and  it  was  performed  with  success  at 
the  Howard  during  the  season  of  1849-50,  the  hero 
and  heroine  being  delineated  by  Scott  and  Mrs.  J.  B. 
Booth,  Jr.  This  play  is  published,  easily  accessible, 
and  worthy  a  place  in  every  library.  The  following 
lines  will  serve  as  an  extract ;  they  are  simple,  yet 
extremely  beautiful :  — 

"  Let  us  part, 

Since  part  we  must,  like  brothers  and  like  friends, 
Who  bent  on  travel,  thus  dividing  stray, 
As  Fortune  or  as  Fancy  leads  the  way,  — 
Far  off,  yet  not  forgotten,  though  apart, 
Dwelling  together  in  each  other's  heart." 

Mr.  Booth  has  had,  we  think,  three  children.  The  first 
was  a  daughter  to  whom  he  was  much  attached.  The 
news  of  her  death  reached  New  York  on  a  certain  day, 
on  the  evening  of  which  he  was  "  up  "  for  Richard. 


202  EECORD    OF    THE    BOSTON    STAGE. 

Careful  of  his  reputation  and  distressed  by  his  affliction, 
he  was  in  great  anguish,  not  knowing  how  to  avoid  the 
performance,  when  he  accidentally  met  Mr.  Forest. 
On  being  told  of  his  affliction,  Mr.  Forest  immediately 
offered  to  perform  the  part,  though  he  had  not  played 
it  for  some  years.  This  little  act  of  unsolicited  kindness 
speaks  volumes  for  the  warm  heart  of  the  actor.  Mr. 
Booth's  eldest  son,  J.  B.,  Jr.,  now  in  California,  is  well 
known  here.  His  debut  occurred  at  the  old  National 
in  the  season  of  1840-41,  as  Tressel  in  "  Richard  III." 
Edwin  Thomas  Booth,  now  also  in  California,  made  a 
successful  debut  in  the  same  part  at  the  Museum,  Sept. 
10th,  1849. 

At  the  close  of  the  season,  the  company  as  usual  left 
for  some  of  the  neighboring  cities.  A  portion  visited 
Portland,  where  on  the  16th  of  August,  1822,  Miss 
Elizabeth  Powell,  (afterwards  Mrs.  Finn,)  daughter  of 
Snelling  Powell,  made  her  debut  in  the  part  of  Julianna 
in  the  "  Honey  Moon."  The  season  of  1822-3  com 
menced  on  the  16th  of  September,  and  the  opening 
night  introduced  to  a  Boston  public  Mr.  George  Bar 
rett,  more  familiarly  known  as  "  Gentleman  George," 
who,  after  an  absence  of  many  years,  returned  to  the 
"  boards,"  where  he  first  made  his  bow  to  an  audience, 
when  quite  a  boy.  Mrs.  Warring  this  season  made 
Tier  first  appearance  in  America,  and  on  the  first  night, 
recited  Collins's  Ode  on  the  Passions.  Mr.  Barrett's 
excellent  acting  is  still  so  fresh  in  the  remembrance  of 
many,  that  any  allusions  to  his  qualifications  are  almost 
useless.  At  the  time  he  made  his  reappearance,  he 
xwas  probably  the  best  comedian  on  the  American  stage. 
Mr.  Barrett  subsequently  married  Mrs.  Drummond, 


RECORD    OF   THE  BOSTON   STAGE.  203 

who,  at  his  first  benefit  in  Boston,  appeared  as  Jesse 
Oakland,  to  Barrett's  Young  Rapid,  in  "  A  Cure  for 
the  Heart-Ache."  In  later  years,  Mr.  Barrett  was 
connected  with  the  Tremont  Theatre,  and  recently  with 
the  Broadway  Theatre,  N.  Y.  In  1850  he  made  a 
tour  of  the  United  States  with  his  daughter,  Miss 
Georgiana  Barrett,  (now  Mrs.  Warren,)  and  in  1852-3 
was  stage-manager  of  the  theatre  at  Charleston,  S.  C. 

On  the  16th  of  October,  1822,  the  "  Child  of  Nature" 
was  brought  out  for  the  purpose  of  bringing  forward 
Miss  Elizabeth  Powell,  who  appeared  during  the  sea 
son  in  many  parts,  and  gradually  succeeded  in  -over 
coming  that  timidity  which  was  the  chief  fault  in  her 
acting.  Her  Hester  in  "  To  Marry  or  not  to  Marry/* 
and  Zorayda  to  Finn's  Octavian,  were  above  medi 
ocrity. 

Miss  P.  was  the  only  child  of  the  Powell  family  who 
had  an  inclination  for  the  stage,  and  adopted  the  pro 
fession  against  the  wishes  of  her  friends. 

In  the  newspapers  of  the  day,  an  announcement  ap 
peared,  which  we  copy.  It  appeared  in  the  papers  of 
1822:  — 


MR.  FINN,  the  Tragedian,  is  shortly  expected.    Due  notice 
will  be  given  of  his  appearance  in  this  city." 

Henry  James  Finn,  one  of  the  most  popular  actors 
that  ever  made  Boston  his  home,  was  born  in  Cape 
Breton,  Sidney,  about  the  year  1785.  His  father  was 
at  one  time  in  the  British  Navy,  but  retiring  from  the 
service,  he  came  when  the  subject  of  this  sketch  was 
quite  a  child  to  New  York.  Finn  evinced  no  decided 
predilections  for  the  stage  till  1804-5,  when  he  obtained 


204  RECORD    OF   THE   BOSTON   STAGE. 

an  entree  behind  the  scenes  at  the  Park  Theatre,  and 
soon  enlisted  as  volunteer  to  the  "  property  man,"  de 
riving  an  ample  equivalent  for  any  hard  work  he  might 
do,  by  being  allowed  to  make  his  appearance  on  the 
stage  to  deliver  a  letter,  or  in  some  other  minor  capac 
ity.  He  devoted  his  evenings  to  this  recreation,  during 
the  day  serving  in  the  office  of  Thomas  Phosnix,  Esq., 
as  copying  clerk,  having  received  the  rudiments  of  an 
education  at  the  academy  at  Hackensack.  His  em 
ployer,  however,  soon  ascertained  the  chosen  spot  of 
his  clerk's  nightly  retreat,  and,  fearing  that  it  might 
lead  to  evil,  requested  Mr.  Stephen  Price,  then  mana 
ger,  to  forbid  any  farther  visits.  The  manager  did  as 
he  was  requested,  and  the  door  being  closed  on  him, 
he  was  obliged  to  seek  other  sources  of  amusement,  for 
his  pecuniary  affairs  prevented  his  ingress  to  the  front 
of  the  house.  His  father  dying,  it  devolved  upon  Finn 
to  support  his  mother,  a  task  which  he  fulfilled  during 
Ms  life  with  filial  obedience  and  solicitude.  It  was 
about  this  time  that  Finn  and  his  mother  embarked  for 
Europe,  in  the  hopes  of  bettering  their  condition  through 
the  influence  of  his  father's  relatives,  but  on  their  ar 
rival  in  London,  they  could  find  no  near  relations,  and 
Finn  was  obliged  to  teach  school.  His  earnings  were 
barely  sufficient  to  purchase  bread  with,  and  he  ex 
perienced  the  sufferings  which  many  have  undergone 
in  London,  and  which  stimulated  him  to  make  exertions 
which  finally  led  to  his  adoption  of  the  profession.  After 
many  struggles  with  misfortune,  he  left  the  metropolis 
one  morning,  without  even  taking  a  farewell  of  his 
mother.  Unacquainted  with  the  roads,  he  wandered  on 
until  dark,  when  coming  to  a  village  where  a  strolling 


RECORD    OP   THE    BOSTON    STAGE.  205 

company  had  put  up,  he  soon  ingratiated  himself  into 
their  good  graces,  and  was  regaled  with  part  of  their 
cheer.     On  proceeding  to  the  barn  where  the  perfor 
mances  were  to  take  place,  Finn  discovered  that  the  little 
knowledge  he  had  picked  up  in  the  paint-room  of  the 
Park  Theatre  could  be  put  into  requisition,  and  imme 
diately,  with  the  aid  of  a  little  red  and  yellow  ochre, 
chalk,  size,  and  whiting,  he  re-touched  the  scenery,  and 
much  improved  the  general  effect.     The  discovery  of  a 
pure  vein  of  golden  ore  would  not  be  more  acceptable 
to  a  party  of  miners,  than  was  Finn's  talent  to  this 
wandering   company.      He    was   immediately  pressed 
into   the   service,   and   thus   humbly    commenced   his 
career  as  an  actor.     His  first  earnings  were  sent  to  his 
mother,  and  during  the  time  he  travelled,  her  welfare 
was  the  subject  of  his  most  tender  care.     Finn  after 
this  returned  to  America,  and,  we  believe,  made  his 
first  appearance  as  actor  on  the  stage  in  New  York. 
In  1818  he  visited  Savannah,  where  he  made  a  good 
hit.     He  appeared  in  December  of  that  year  as  Mer- 
cutio,  Donald  in  "  The  Falls  of  Clyde,"  and  in  January, 
1819,  performed  the   Stranger  in  Kotsebue's  play  for 
his  benefit  to  a  crowded  house.     He  subsequently  re 
turned  to  Savannah,  and  in  1820  was  associate  editor 
and    publisher   with   J.    K.    Tefft,   of  the    Savannah 
Georgian,   a   daily   paper,    which   bears    evidence   of 
Finn's  ready  pen,  literary  taste,  and  pure  morality. 
He  wrote  at  this  time  a  series  of  articles,  entitled  "The 
Moralist,"  which  appeared  every  Saturday.     They  are 
of  a  serious  cast,  yet  written  in  an   attractive    vein. 
Finn,  in  the  year  1821,  was  again  in  London,  where  he 
subsisted  by  the  aid  of  his  pencil  as  a  miniature  painter, 


206  RECORD    OF    THE    BOSTON    STAGE. 

making  trips  to  the  large  provincial  theatres,  and  it 
was  Mr.  Finn's  original  intention  to  become  an  artist. 
About  this  time  Finn  attached  himself  to  the  Surrey 
Theatre  as  leading  melo-dramatic  tragedian,  but  the 
manager  becoming  insolvent,  Finn's  demands  on  the 
treasury  were  not  paid,  and  he  returned  to  America, 
and  on  the  28th  of  October,  1822,  made  his  first  ap 
pearance  at  the  Federal  Street,  in  the  part  of  Richard. 
Shortly  after  his  arrival  here,  he  received  praise  for 
his  personation  or"  Mark  Antony,  and  performed  with 
general  acceptance  Othello  to  Cooper's  lago,  Pythias  to 
Cooper's  Damon,  George  Barrett  appearing  as  Cassio, 
Mrs.  Henry  as  Desdemona,  Mrs.  Warring  as  Emilia 
in  the  former,  and  Charnock  appeared  as  Dionysius, 
Mrs.  Powell  as  ffermion,  and  Mrs.  Henry  as  Calanthe, 
in  the  latter.  Those  who  recollect  Mr.  Finn  only  as 
Paul  Pry,  Lord  Ogilby,  Monsieur  Jaques,  Dr.  Pangloss, 
Bob  Logic,  Billy  Black,  Beau  Shatterley,  Mawworm,  in 
which  he  had  no  equal  in  his  day,  may  smile  to  think 
of  one  who  is  associated  in  the  memory  as  the  laughing 
son  of  Momu?,  assuming  so  tragic  a  part ;  but  the  as 
sumption  was  not  a  caricature,  and  had  he  preceded 
Cooke,  Cooper,  and  Kean,  he  would  have  been  encour 
aged  to  pursue  this  line  of  characters.  Indeed,  his 
reading  of  Hamlet,  in  the  opinion  of  many,  challenged 
comparison  with  that  of  the  most  famed  tragedians,  and 
even  as  late  as  1836  he  performed  Richard  in  Phila 
delphia  to  the  acceptation  of  those  who  are  critical  in 
such  matters.  Mr.  Finn  was  engaged  as  a  permanent 
actor  at  a  salary  of  $25  per  week,  and,  as  will  be  seen, 
performed  second  to  Cooper,  Forest,  Macready,  and 
others.  He  subsequently  was  manager  of  the  theatre 


RECORD    OF    THE    BOSTON    STAGE.  207 

in  conjunction  with  Kilner,  and  afterwards  a  member 
of  the  stock  at  the  Tremont.  His  poetical  contributions 
on  festive  occasions  were  numerous  and  exceedingly 
witty,  though  the  wit  of  many  of  his  conundrums  was 
lost  — 

" unless  you  print  his  face." 

He  invariably  kept  the  public  in  a  continual  roar  by 
his  mirth-provoking  sallies,  but  in  private  he  was  very 
sedate  ;  and  to  see  him  quietly  seated  in  the  Athenaeum, 
his  favorite  place  of  resort,  no  one  would  imagine  that 
the  spare  man  with  eyes  so  intent  upon  some  foreign 
Review,  was  he  who  at  night  as  Billy  Black  would 
keep  the  audience  " laughing  in  tiers" 

Finn,  in  1829,  gave  entertainments  similar  to  Mathew's 
"  At  Home,"  in  Portland,  and  was  very  successful.  He 
had  the  faculty  for  this  species  of  entertainment ;  and 
when  he  exercised  it  either  at  the  table  of  a  friend  or 
in  public,  his  stories  and  songs  were  irresistible.  Finn, 
in  the  latter  part  of  his  life,  "starred"  it  with  great 
success,  retiring  in  the  summer  to  his  cottage  at  New 
port,  to  pass  the  warm  months  with  his  family.  He 
accumulated  considerable  money  by  his  professional 
services,  a  portion  of  which,  however,  was  lost  in  un 
fortunate  speculations  in  1835-6. 

The  fate  of  Mr.  Finn  is  too  well  known  to  require 
any  lengthy  notice.  He  was  a  passenger  on  board  tha 
Lexington,  which  was  burnt  on  Long  Island  Sound,  on 
the  night  of  the  13th  of  January,  1840.  Universal  was 
the  regret  expressed  throughout  the  country  at  his  loss, 
and  the  sympathy  of  his  many  friends  was  extended 
towards  his  family.  He  left  a  widow  (who  is  still  living 


208  RECORD    OP   THE    BOSTON    STAGE., 

in  this  city)  and  five  children,  two  of  whom  have  made 
their  appearance  on  the  stage.  Our  "  Record "  will 
contain  farther  notice  of  Mr.  Finn,  relative  to  his  con 
nection  with  theatricals  in  this  city. 


CHAPTER   XIV. 

Charles  Mathews  in  Boston.  —  His  First  Appearance.  —  Sketch  of 
His  Life.  —  Anecdotes.  —  His  Libel  Suit.  —  Arthur  Keene.  — 
Adams.  —  "  Coleridge's  Remorse."  —  Booth,  "  No  New  York  Mana 
gers  Here."  —  The  City  Theatre.  —Joe  CowelTs  Troupe.  —  "  Tom 
and  Jerry"  brought  out.  —  The  "Shakspeare  Jubilee."  —  The 
Prize  Ode.  —  Report  of  the  Committee.  —  Presentation  of  the 
Pitcher  to  Charles  Sprague. 

IN  the  month  of  December,  1822,  Charles  Mathews 
arrived  in  this  city.  He  was  born  June  28,  1776,  in 
the  Strand,  London,  where  his  father  was  a  respectable 
bookseller.  It  was  a  boast  of  Mathews,  that  the  great 
David  Garrick,  on  one  occasion,  while  at  his  father's 
bookstore,  took  him  in  his  arms.  He  received  at  the 
Merchant  Tailors'  School  a  good  common  education, 
and  afterwards,  while  an  apprentice  to  his  father,  had 
opportunities  of  gleaning  knowledge  from  the  various 
books  which  passed  through  his  hands,  and  early  pro 
nounced  an  inclination  for  the  profession  he  subse 
quently  adopted,  by  singling  out  for  perusal  "  Bell's 
British  Theatre,"  "The  Beauties  of  the  Dramatist," 
etc.,  in  preference  to  those  of  a  more  serious  cast.  He 


RECORD    OF    THE    BOSTON    STAGE.  209 

soon  thirsted  for  an  opportunity  to  distinguish  himself 
on  the  stage,  and  an  opportunity  presented  itself.  Hear 
ing  that  "  hard  by  there  were  spirits  at  work,"  he  made 
it  a  point  to  initiate  himself  into  their  good  graces,  and 
under  the  pretehce  of  improving  his  French,  he  repaired 
nightly  to  a  kind  lady,  who  gave  evening  lessons  to  a 
few  select  pupils,  who  in  return  complimented  her  by 
bringing  out  a  play.  In  a  small  room,  in  the '  Strand, 
over  a  pastry-cook's  shop,  Mathews  appeared  in  the 
part  of  Phoenix  to  Elliston's  Pyrrhus  —  a  name  which 
will  not  occur  in  our  local  record  of  dramatic  events  in 
Boston,  but  who  was  intimately  connected  with  theatri 
cals  in  Europe  for  many  years.  At  the  time  of 
Mathews'  first  juvenile  effort,  he  had  not  seen  the 
interior  of  a  theatre,  and  it  was  not  till  1790  that  he 
paid  a  stolen  visit  —  his  parents  being  strictly  opposed 
to  all  such  entertainments  —  when  "  The  Orphan  "  and 
the  farce  of  "  Retaliation  "  were  presented.  The  future 
course  of  his  life  was  shaped  by  this  event ;  the  dry 
details  of  business,  the  tedious  duties  of  an  apprentice 
were  neglected,  and  the  counter  of  his  father's  store 
was  the  rostrum  upon  which  he  gave  —  for  the  especial 
benefit  of  his  fellow  clerks  —  imitations  of  what  he  had 
seen  at  the  theatre. 

In  September,  1792,  Mathews  and  a  young  friend 
equally  stage-struck,  heard  that  for  ten  guineas,  the  man 
ager  at  Richmond,  near  London,  would  allow  them  to 
indulge  in  their  penchant  for  the  stage  ;  and  in  the  early 
part  of  this  month,  having  paid  for  that  honor,  Mathews 
appeared  as  Richmond,  in  "  Richard  the  Third,"  and 
Bowkitt  in  "  The  Son-in-Law  "  —  with  what  success 
may  be  judged  from  a  notice  in  the  paper,  that  he  "  did 
14 


210  RECORD    OF    THE    BOSTON    STAGE. 

not  disgrace  the  company  he  performed  with."  His 
father,  finding  his  son's  mind  fixed  upon  the  stage,  one 
day  addressed  him  thus  :  "  Charles,  there  are  your  in 
dentures,  and  there  are  twenty  guineas ;  I  do  not 
approve  of  the  stage,  but  I  will  not  oppose  your 
wishes.  At  any  time  hereafter,  should  you  feel  inclined 
to  an  honest  calling,  there  are  twenty  guineas  more  if 
you  send  for  them ;  and  your  father's  house  is  open  to 
you."  The  second  twenty  guineas  Mathews  never 
claimed. 

There  is  a  great  similarity  in  the  lives  of  all  actors 
—  the  same  hard  toil  to  perform  —  the  same  aspira 
tions  —  the  same  disappointments.  Where  one  rises  to 
any  thing  like  respectability  in  the  profession  a  score  or 
more  retire  from  the  stage,  or  settle  down  as  second 
or  third-rates  in  some  stock  company.  Others,  with 
genius,  falter  in  their  career,  listen  to  the  fulsome  adu 
lations  of  friends,  and  are  lost,  while  the  laurel  wreath 
is  only  awarded  to  those  who  patiently  labor  on,  devot 
ing  their  energies  and  mind  to  study  and  acting. 
Mathews,  after  leaving  his  father's  house,  went  to  Can 
terbury,  where  he  played  Old  Doiley  and  Lingo,  and 
thence  to  Dublin,  where,  after  a  feverish  existence  of 
eighteen  months,  being  cast  to  parts  unsuited  to  his 
talents,  and  being  honored  on  one  occasion  by  "  a  groan 
for  the  long  lobster  who  played  Beaufort"  he  started  for 
Bristol.  Contrary  winds,  however,  drove  the  vessel 
to  Swansea,  where  he  joined  Mr.  Masterman's  company, 
and  continued  for  three  years  to  act  all  his  favorite  parts 
with  considerable  success.  On  the  16th  of  May,  1803, 
tie  appeared  at  the  Haymarket,  London,  as  Jubal  in 
"The  Jew,"  and  Lingo,  and  from  that  time  to  his 


RECORD    OF    THE    BOSTON    STAGE.  211 

death,  was  a  great  favorite  on  the  stage  of  the  metro 
polis.  Mathews,  however,  was  more  successful  in  his 
entertainments  than  as  an  actor.  He  possessed  a 
peculiar  power  of  copying  the  minds  of  persons  of 
whom  he  gave  imitations,  and  his  greatest  efforts  were 
produced  by  imaging  conversations  between  men  which 
had  never  taken  place,  but  in  which  he  depicted  with  a 
master-hand  their  minds,  characters,  and  dispositions. 
This  power,  added  to  a  copious  store  of  anecdote,  the 
quickest  possible  perception  of  the  ridiculous,  an  un 
equalled  talent  for  singing  comic  songs  of  a  species 
which  he  himself  originated,  rendered  his  "  evenings  " 
very  popular ;  and  his  "  Mail-Coach  Adventures," 
"  Trip  to  Paris,"  "  At  Home,"  etc.,  etc.,  always  drew 
crowds.  On  the  6th  of  September,  1822,  Mathews 
arrived  at  New  York,  where  he  was  extremely  well 
received,  as  well  as  in  Philadelphia.  His  appearance 
in  Boston  will  form  a  portion  of  our  local  record.  On 
his  return  to  England,  he  brought  out  his  "  Trip  to. 
America,"  which,  at  the  time,  was  the  subject  of  con 
siderable  remark,  it  being  alleged  that  he  had  attempted 
to  burlesque  the  Americans,  who  had  received  him  so 
kindly.  This  he  denied,  and  much  was  published  on 
the  subject,  and  on  his  return  to  New  York,  in  1834, 
there  was  a  determination  not  to  allow  him  to  appear. 
Placards  were  posted  round  the  streets  inviting  hostil 
ity,  and  trouble  was  anticipated.  The  curtain  at  the 
Park  Theatre,  however,  on  the  13th  of  October,  1834, 
went  up,  to  a  house  crowded  from  pit  to  dome.  When 
he  appeared  a  most  tremendous  shout  greeted  him,  and 
the  applause  long  continued.  Silence  being  obtained, 
he  addressed  the  audience  in  a  strain  of  eloquence. 


212  RECORD    OF    THE    BOSTON    STAGE. 

He  thanked  them  for  their  warm  and  generous  recep 
tion  of  him,  and  asked:  was  it  possible,  if  he  was 
guilty,  that  he  would  have  thus  come  here  to  face  them? 
No.  "  I  am  not  acting  now ! "  said  Mr.  Mathews, 
with  great  feeling,  —  which  had  an  electric  effect. 
After  the  performance  of  Monsieur  Tonson,  etc.,  he 
was  called  out,  and  thanking  the  audience  for  the  recep 
tion,  stated,  that  to  prove  that  he  had  not  done  injustice 
to  America,  he  would,  with  their  permission,  take  oc 
casion  to  act  before  them  his  whole  "  Trip  to  America," 
verbatim  et  literatim.  This  he  did;  and  the  verdict 
was,  not  guilty,  to  the  various  charges  which  had  been 
made  against  him.  "While  in  America,  Mr.  Mathews 
was  present  at  a  dinner  given  in  Philadelphia  in  com 
pliment  to  Mr.  Sheridan  Knowles,  who  availed  himself 
of  that  opportunity  to  testify  to  Mr.  Mathews'  uniform 
admiration  —  expressed  when  abroad,  of  the  citizens  of 
this  country.  Mathews'  visit  to  Boston,  in  December, 
1834,  and  January,  1835,  was  the  last.  He  was  quite 
sick  while  here  and  confined  to  his  room  ;  his  sufferings 
being  alleviated,  however,  by  the  kind  attention  of  Mr. 
Manners,  tlie  English  consul  at  that  time,  by  Mrs. 
Eliot,  the  Thorndikes,  and  other  families,  and  it  hap 
pened  that  his  last  attendance  at  church  was  at  the 
Trinity  Church  in  this  city,  where  he  went  to  hear  the 
preaching  of  Dr.  Wainwright,  who,  though  he  did  not 
attend  the  theatre,  was  a  friend  to  the  comedian.  Mr. 
Mathews  returned  to  New  York,  where  he  performed 
a  short  engagement,  taking  his  farewell  benefit  on  the 
llth  of  February,  1835,  which  was  his  last  appearance 
on  any  stage.  On  the  18th  of  the  same  month,  in 
company  with  Mrs.  Mathews,  he  sailed  from  New 


RECORD  OF  THE  BOSTON  STAGE.       213 

York,  and  after  a  voyage  of  nineteen  days,  reached 
Liverpool  in  exceedingly  feeble  health.  He  was 
removed  to  the  house  of  a  friend  near  Devonport,  and 
thence  to  Plymouth,  where  he  expired  on  the  28th  of 
June,  1835,  quitting  this  world  on  the  fifty-ninth  anni 
versary  of  his  birth.  The  immediate  cause  of  his 
death  was  water  on  the  chest. 

Mr.  Mathews  was  married  twice.  His  first  wife  was 
Mrs.  E.  K.  Strong,  who  died  in  1802.  His  second 
wife  (and  mother  of  the  present  C.  J.  Mathews)  was 
Miss  Jackson,  an  actress.  During  his  life,  he  enjoyed 
the  friendship  of  such  men  as  Sir  Walter  Scott,  Byron, 
Moore,  Rogers,  and  was  with  John  Kemble,  and  the 
veteran  Braham,  received  as  a  guest  by  George  the 
Fourth.  Kean  alone  excepted  —  he  made  more  money 
than  any  performer  of  his  day,  though  he  did  not  die  a 
wealthy  man.  His  body  was  interred  in  St.  Andrew's 
Church,  Plymouth,  and  a  great  number  of  persons 
distinguished  for  rank  and  respectability,  attended  the 
funeral.  A  handsome  monument  was  subsequently 
erected  in  the  vestibule  of  the  church,  bearing  the  fol 
lowing  inscription  by  Horace  Smith:  — 

"  All  England  mourned  when  her  comedian  died, 
A  public  loss  that  ne'er  might  be  supplied; 
For  who  could  hope  such  various  gifts  to  find, 
All  rare  and  excellent  in  one  combined? 
The  private  virtues  that  adorned  his  breast, 
Crowds  of  admiring  friends  with  tears  confessed. 
Only  to  thee,  0  God !  the  grief  was  known 
Of  those  who  reared  this  monumental  stone!    • 
The  son  and  widow,  who,  with  bosoms  torn, 
The  best  of  fathers  and  of  husbands  mourn. 
Of  all  this  public,  social,  private  wo 
Here  lies  the  cause,  —  CHARLES  MATHEWS  sleeps  below." 


214  RECORD    OF    THE    BOSTON    STAGE. 

The  memoirs  of  Charles  Mathews,  in  four  volumes, 
were  published  in  England  in  1839.  Mathews  com 
menced  his  first  engagement  in  Boston,  on  the  26th  of 
December,  1822.  The  terms  were  to  share  after  $1,500 
for  five  nights,  the  sixth  to  take  a  benefit  at  $300 
charges.  It  was  renewed  for  seven  nights,  share  after 
$300  per  night.  The  managers  gave  £50  for  the  four 
teenth  night,  and  shared  after  $300  on  the  fifteenth  and 
sixteenth  nights,  and  the  seventeenth  night  — his  benefit 
—  he  paid  $300  charges.  The  tickets  were  sold  at 
auction,  and  $500  of  the  premium  went  to  the  manage 
ment,  the  rest  being  distributed  among  charitable 
societies. 

Mathews  opened  as  Goldfinch  and  Tonso?i,  two  of 
his  best  parts,  and  his  reception  was  great.  His  style 
was  original,  and  it  had  the  great  charm  of  novelty. 
His  "  Trip  to  Paris  "  drew  crowded  houses,  heavy 'pre 
miums  being  paid  for  tickets  ;  and  though  the  cold  was 
intense,  the  water  freezing  in  the  pitcher  in  Mathew's 
room  so  thick  that  he  could  not  break  it  with  the  leg 
of  a  chair,  people  came  from  Salem  in  open  sleighs  to 
attend  the  performances.  On  the  last  night  of  his 
engagement,  which  resulted  in  his  amassing  $4605.97, 
Mathews  was  honored  by  a  call  before  the  curtain, 
which  he  answered  by  a  speech. 

After  the  close  of  the  engagement,  Mathews  gave  his 
"  Trip  to  Paris  "  in  Boylston  Hall,  ostensibly  to  meet 
the  wants  of  those  holy  puritans,  who  would  not  visit 
the  theatre  to  see  an  entertainment  which  they  patron 
ized  in  a  hall.  Mr.  Buckingham  (then  editor  of  the 
Galaxy)  alluded  to  this  fact  in  strong  language,  and 
also  attacked  Mr.  Mathews'  entertainments  as  low  and 


RECORD    OF    THE    BOSTON    STAGE.  215 

vulgar,  and  Mr.  Mathews  commenced  a  suit  against  the 
editor,  setting  his  damages  at  $10,000.  Like  thousands 
of  other  suits,  brought  in  a  moment  of  petulance  and 
ill  humor,  or  when  suffering  under  the  deserved  censure 
of  an  independent  press,  it  never  came  to  trial. 

Mr.  Wallack  appeared,  and  the  theatre  closed  on  the 
28th  of  April  with  Mrs.  Powell's  benefit,  on  which 
occasion  an  address  in  defence  of  the  stage  was  recited 
by  the  beneficiary. 

During  an  after-season,  Mrs.  C.  Powell,  widow  of 
Charles  Powell,  the  first  manager  of  the  Haymarket, 
arrived  in  town  from  Halifax,  where  with  her  husband 
she  had  long  resided,  under  the  patronage  of  the  Duke 
of  York,  and  received  a  benefit  at  the  theatre,  her 
daughter  making  her  appearance. 

The  season  of  1823-4  is  notable  on  many  accounts. 
It  commenced  on  the  15th  of  September ;  Mr.  Keene, 
then  the  best  professional  male  singer  in  America,  ap 
pearing  as  Henry  Bertram  in  "  Guy  Mannering."  Mr. 
Adams  appeared  in  tragedy,  and  Mr.  Pelby,  who  had 
returned  from  a  successful  southern  tour  as  a  star,  made 
his  reappearance.  Cooper  paid  his  annual  visit,  and 
brought  out  Coleridge's  "  Remorse."  Booth,  who  had 
increased  in  reputation,  was  warmly  received,  and  on 
the  last  night  of  a  very  brief  engagement,  he  was  called 
out,  and  —  the  idea  having  gone  abroad  that  his  engage 
ment  was  shortened  through  the  influence  of  Price,  the- 
New  York  manager,  who  wished  Mrs.  Holman  and 
Mr.  Pearman  to  appear  —  a  demand  was  made  for  him 
to  play  one  more  night,  which  was  mingled  with  shouts 
of  "  No  New  York  managers  here  !  "  Booth  retired  to 
consult  with  the  managers,  and  then  reappeared,  prom- 


216  RECORD    OF    THE    BOSTON    STAGE. 

ising  acquiescence  to  the  request,  but  for  some  unknown 
reason  he  did  not  reappear.  The  public,  believing  that 
it  was  through  Price's  influence  that  they  were  deprived 
of  a  favorite,  patronized  his  proteges  but  sparingly. 

Since  the  demolition  of  the  Haymarket  Theatre  till 
1823,  the  Boston  Theatre  had  little  to  contend  against. 
In  1823,  however,  the  amphitheatre  at  Washington 
Gardens  was  dignified  by  the  name  of  the  City  Theatre, 
and  in  December  of  that  year,  Joe  Cowell  arrived  in 
town  with  an  equestrian  and  comedy  company  combined. 
Of  the  male  performers  were  Cowell,  Tatnall,  Tea 
man,  Roberts,  Hiney,  Roper,  Ramage,  Gales,  Lawson, 
Hughes,  Dinneford,  Parker,  Johnson,  Austin,  and  Lee ; 
part  of  whom  were  attached  to  the  ring,  and  part  to 
the  stage.  Of  the  females  there  were  Mesdames  Tat 
nall,  Robertston,  Stevenson,  Parker,  etc.,  and  additions 
were  afterwards  made.  Plays  were  brought  out  in  a 
highly  respectable  manner.  To  offset  the  attractions 
at  the  City  Theatre,  Mr.  Blanchard's  company  of  rope- 
dancers,  etc.,  were  engaged  at  the  Boston  Theatre,  and 
Mrs.  Blanchard  for  some  nights  continued  to  ascend  on 
the  tight-rope  from  the  back  part  of  the  stage  to  the 
gallery,  delighting  crowded  audiences. 

The  popular  play  of  "  Tom  and  Jerry  "  was  brought 
out  at  the  City  Theatre,  for  the  first  time  in  Boston,  on 
the  19th  of  December,  1823,  and  on  the  22d  it  was 
produced  at  the  Boston  Theatre. 

Corinthian  Tom, Barrett. 

Logic,      .         .        ',.-'.        .        .        .        .         .     Finn. 

Squire  Hartshorn,       .      ,»        .    ' ,.        .  .        .        Kilner. 

Jerry,     .        .        »  .      •        ,        ..        .        .        .     Brown. 

Kate,  .        .        .        .        .        .  Mrs.  Warren, 

Sue, Mrs.  Henry. 

Jane,  .        .        .  Miss  W.  Clarke. 


RECORD    OF    THE    BOSTON    STAGE.  217 

The  amusements  of  the  city  appeared  rather  oddly 
contrived,  but  we  presume  the  managers  were  of 
opinion,  that 

"  The  drama's  laws  the  drama's  patrons  give, 
For  those  who  live  to  please  must  please  to  live." 

This  decline  of  the  drama  at  the  Boston  Theatre  was 
only  temporary,  for  immediately  after,  Cooper  and  Con- 
way  were  engaged,  and  played  together  in  "  Venice 
Preserved,"  "  Othello,"  and  other  tragedies  of  like 
order.  The  following  advertisement  appeared  in  all 
the  papers  shortly  after  the  opening  of  the  theatre  :  — 

NOTICE  ! 

The  Managers  of  the  Boston  Theatre  having  made  preparations  for 
exhibiting,  in  the  course  of  the  ensuing  winter,  a  Pageant,  in  com 
memoration  of  ShaJcspeare,  in  which  will  be  represented  his  principal 
dramatic  characters,  with  appropriate  Dialogue,  and  the  original 
Music  as  performed  in  the  Shakspeare  Jubilee  at  Drury  Lane,  pro 
pose  to  give  a  GOLD  MEDAL,  of  the  value  of  FIFTY  DOLLARS,  for  the 
best  ODE  or  POEM  which  shall  be  offered,  to  be  recited  on  the  occa 
sion.  It  is  desirable  that  the  composition  should  not  be  less  than 
ffty  rior  more  than  one  hundred  lines  in  length.  The  Medal  shall  be 
awarded  by  a  Committee  of  ten  gentlemen,  to  be  hereafter  nominated 
for  that  purpose ;  and  that  no  partiality  or  personal  predilection  may 
influence  the  decision,  every  piece  offered  for  the  prize  must  be 
accompanied  by  a  sealed  paper,  containing  the  name  and  residence 
of  the  author,  none  of  which  seals  will  be  broken,  except  that  belong 
ing  to  the  successful  piece.  Communications  must  be  addressed 
(post-paid  if  by  mail)  to  "  The  Managers  of  the  Theatre,  Boston," 
previous  to  the  first  day  of  December  next. 

Boston,  Sept.  19,  1823. 

The  offering  of  prizes  for  poems,  at  that  time,  cre 
ated  a  great  excitement  among  the  literati,  and  the 
most  gifted  poets  in  the  country  entered  the  lists.  The 


218       RECORD  OF  THE  BOSTON  STAGE. 

committee  was  composed  of  our  best  scholars,  and  their 
favorable  verdict  was  of  great  value.  The  public  par 
took  of  this  feeling,  and  a  local  pride  was  excited,  lest 
some  resident  of  another  city  might  gain  the  prize. 
The  committee  on  this  occasion  consisted  of  Warren 
Dutton,  Andrew  Ritchie,  Theodore  Lyman,  Jr.,  Wash 
ington  Allston,  George  Ticknor,  Alexander  Townsend, 
Henry  Cabot,  Franklin  Dexter,  Jared  Sparks,  and  W. 
H.  Prescott,  Esqrs.  Their  position  in  society,  and'  the 
reputation  of  many  of  them  in  the  literary  world,  aug 
mented  the  public  interest,  and  stimulated  the  poets  of 
the  country  to  use  their  best  exertions  —  all  anxious 
for  a  favorable  judgment  from  such  a  body  of  critics. 
The  decision  was  awaited  for  with  impatience,  and  the 
following  is  the  report  of  the  committee  :  — 

"  The  gentlemen  who  were  requested  by  the  Manager  of  the  Boston 
Theatre  to  examine  the  merits  of  the  several  poems  written  on  the 
occasion  of  the  approaching  Jubilee  in  honor  of  Shakspeare,  and  to 
decide  which  is  entitled  to  the  Medal  proposed,  are  of  opinion  that 
this  honor  should  be  awarded  to  Mr.  Charles  Sprague,  as  the  author 
of  the  poem  marked  No.  22. 

"  The  gentlemen,  however,  owe  it  to  the  author  of  a  poem  entitled 
"  Shakspeare's  Triumph,"  to  say,  that  its  intrinsic  merit  is  so  great, 
and  it  is  so  well  adapted  to  recitation,  that  they  consider  it  entitled 
to  high  commendation,  and  they  cannot  but  express  their  wish  that 
the  author  would  allow  it  to  be  recited  on  the  stage. 

W.  DUTTON, 
A.  EITCIIIE. 
In  behalf  of  the  Committee." 

The  report  was  received  by  the  public  with  every 
manifestation  of  pleasure,  and  we  need  not  add  that 
the  merits  of  the  piece  still  command  the  attention  of 
scholars. 

Mr.  Sprague  having  been  the  recipient  of  a  MEDAL 


RECORD    OF    THE    BOSTON    STAGE.  219 

for  his  Prize  Address,  on  the  opening  of  the  new  Park 
Theatre  in  New  York,  in  1821,  and  also  a  CUP  from 
the  managers  of  the  Chesnut  St.  Theatre,  Philadelphia, 
in  December,  1822,  for  a  similar  effort,  the  managers 
of  the  Boston  Theatre  substituted  a  SILVER  PITCHER 
in  the  place  of  the  Medal  which  was  offered ;  and  in 
compliment  to  the  author,  for  this  trio  of  successful 
poems,  Mr.  Dickson  caused  to  be  engraved  thereon  an 
appropriate  quotation  from  "  Macbeth  "  — 

"  THRICE  TO  THIXE." 

The  poem  "  Skakspeare's  Triumph,"  alluded  to  in 
the  report,  was  from  the  pen  of  a  distinguished  clergy 
man  of  this  city.  The  Prize  Poem  and  other  addresses 
were  published  in  a  volume. 


CHAPTER   XV. 

The  Shakspeare  Jubilee.  —  Compliment  to  the  Author  of  the  Prize 
Ode.  —  Conway.  —  Visit  of  Lafayette  to  Boston.  —  Ebenezer  Bailey, 
Esq.  —  Bunker  Hill  Monument.  —  Enterprise  of  Newspapers. — 
City  Theatre. — Kean  Announced  to  Appear.  —  His  Troubles  in 
England.  —  His  First  Card. — First  Appearance  in  New  York. — 
His  Apology  to  the  Boston  Public.  —  Preliminaries.  —  The  Great 
Kean  Riot,  etc.,  etc. 

WE  alluded,  in  the  last  chapter,  to  the  "  Shakspeare 
Jubilee."  "Worrall,  the  scenic  artist,  employed  his 
pencil  with  fine  effect.  The  design  of  the  managers 


220  RECORD    OF    THE    BOSTON    STAGE. 

was,  after  showing  Shakspeare's  house  at  Stratford- 
upon-Avon,  to  present  a  procession  of  the  most  cele 
brated  characters  in  his  acting  plays ;  the  tragedies 
preceded  by  the  tragic  muse  with  her  appropriate 
emblems  in  a  chariot  drawn  by  fiends ;  and  the  come 
dies  in  a  car  drawn  by  satyrs,  and  surrounded  by  youth, 
frolic,  and  good  humor.  In  illustration  of  the  genius 
of  the  great  poet  of  human  nature,  a  selection  of 
scenes  was  made  and  represented  by  different  perform 
ers.  A  magnificent  hall,  occupying  nearly  the  whole 
stage,  formed  the  scene  for  the  representation  of  the 
beauties,  and  the  approach  of  the  personages  of  each 
production  as  it  occurred  in  the  order  of  procession 
was  made  known  by  the  advance  of  a  banner,  display 
ing  the  name  of  the  play  to  be  illustrated.  '  The  "  Prize 
Ode,"  written  by  Charles  Sprague,  Esq.,  was  intended 
to  be  pronounced  at  the  termination  of  the  procession, 
when  all  the  characters  that  had  appeared,  the  tragic 
muse  in  her  chariot,  the  comic  muse  in  her  car,  the 
various  banners,  and  all  the  "  pride,  pomp,  and  circum 
stance  "  of  scenic  show  should  be  collected  to  give 
effect  to  the  occasion.  In  consequence,  however,  of  the 
protracted  length  of  the  scenes  from  the  different 
tragedies,  the  audience  became  impatient,  and  the  pro 
nunciation  of  the  Ode  by  Mr.  Finn,  occurred  between 
the  display  of  the  tragic  and  comic  diversions.  The 
acting  was  highly  creditable  to  the  talents  of  Finn, 
Barrett,  Kilner,  etc. 

The  "  Jubilee "  was  repeated  on  several  occasions, 
after  being  curtailed  and  altered,  and  invariably  at 
tracted  a  large  and  highly  gratified  audience.  The 
Ode  by  Mr.  Sprague  was  appreciated,  and  is  still  read 


RECORD    OF    THE    BOSTON    STAGE.  221 

with  pleasure.  At  a  dinner  given  to  Mr.  Sprague, 
shortly  after,  he  paid  a  flattering  compliment  to  Mr. 
Finn,  who  recited  the  Ode  with  fine  effect.  Prefacing 
his  sentiment  by  stating  that  the  motto  annexed  to  the 
Prize  Ode  was  "  Airy  Nothing,"  he  continued  :  "  The 
power  of  recitation  that  gave  to  airy  nothing  a  local 
habitation  and  a  name." 

Among  the  earliest  efforts  of  Mr.  Finn,  he  brought 
out  a  piece,  called  "  Boston  Bay,  or  Dumb  Shows  v. 
Shakspeare." 

On  the  25th  of  February,  Conway  performed  Ham- 
let.  and  followed  as  Coriolanus,  Lord  Townly,  etc.  A 
critic  of  those  days,  remarked  "  that  the  person  and  face 
of  Mr.  Conway  are  not  peculiarly  fitted  for  the  stage, 
the  first  is  rather  too  large  and  the  other  too  round  and 
inflexible,  reminding  us  continually  of  Fennell,  whom 
Mr.  Conway  also  resembles,  both  in  the  tone  of  his 
voice  and  his  excellent  reading  of  Shakspeare.  His 
voice,  however,  has  far  more  compass,  and  is  deeper 
and  clearer  than  that  of  Fennell.  Conway  belongs  to 
the  Kemble  school,  with*  a  slight  touch  of  Kean,  and 
we  are  free  to  say,  we  have  never  seen  a  Hamlet  so 
well  read,  or  more  feelingly  performed,  nor  a  Corio- 
lanus  so  brilliant  in  fine  points.  This  excellence  is  un 
accompanied  by  trick  and  extravagance  too  frequently 
resorted  to,  to  give  effect  to  mere  declamation  and  high- 
sounding  words."  Towards  the  close  of  Conway's 
engagement,  Cooper  appeared  in  connection  with  him. 

As  an  actor,  Mr.  William  Conway  stood  high  ;  his 
impersonation  of  whatever  he  undertook  invariably 
elicited  applause.  He  was  born  in  London,  and  was 
educated  for  the  law ;  but  adopted  the  profession  and 


222       RECORD  OF  THE  BOSTON  STAGE. 

made  his  first  appearance  at  the  Haymarket  Theatre, 
London.  He  was  subsequently  at  Drury  Lane,  and 
owing  to  a  law-suit  with  Elliston,  he  lost  his  property, 
and  disgusted  with  his  fate  in  England,  he  turned  his 
attention  to  America,  and  arrived  here  in  the  latter 
part  of  1823.  Mr.  Cooper  found  in  him  a  rival  of  no 
small  abilities.  Mr.  Conway  visited  the  western  and 
southern  cities,  and,  in  1826,  announced  his  intention  of 
retiring  from  the  stage.  In  the  summer  of  1827,  he 
visited  Newport,  R.  I.,  which  was  a  favorite  resort,  and 
in  a  secluded  place,  adjacent  to  the  ocean,  he  shut  him 
self  out  from  the  world,  and  confined  himself  to  books, 
and  it  is  said,  was  deeply  engaged  in  theology,  prepar 
atory  to  his  taking  holy  orders.  He  appeared  care 
worn  and  troubled,  and  led  the  life  of  a  hermit.  Early 
in  1828,  he  took  passage  for  Savannah,  Georgia,  from 
New  York,  and  having  arrived  off  the  bar  of  Charles 
ton,  S.  C.,  he  seized  an  opportunity  when  captain  and 
passengers  were  at  tea,  and  threw  himself  into  the 
sea.  The  efforts  made  to  save  him  were  unsuccessful. 
About  the  time  that  he  took  passage  for  Savannah, 
the  following  pathetic  poem,  from  his  pen,  appeared  in 
a  New  York  paper  :  — 

THE    FAREWELL. 

"  A  wanderer,  doomed  to  dwell 
On  foreign  shores  a  solitary  man, 
To  home's  lov'd  scenes  lamenting  thus  began 
The  parting  sad  farewell ! 

"  I  leave  my  happy  home, 
The  streams  and  meadows  I  have  loved  so  long, 
And  the  fair  city  with  its  joyous  throng, 
O'er  the  rude  waves  to  roam. 


RECORD    OF   THE    BOSTON    STAGE.  223 

"  Farewell  tliou  valued  one, 
Thou  guide  and  friend  of  my  departed  years, 
Thou  mother  of  my  youth,  why  gush  thy  tears, 
In  blessing  of  thy  son  ? 

"  Farewell !  Oh,  never  more 
Shall  thy  dim  eyes  behold  thy  wayward  child ; 
Nay,  mother,  do  not  thus  with  accents  wild 
Thy  bitter  fate  deplore. 

"  Father,  to  thee  I  bow, 

Asking  thy  blessing  with  this  warm  embrace ; 
Chide  not  the  unmanly  tears  upon  my  face, 
The  paleness  on  my  brow. 

"Alas!  how  shall  I  part 
From  thee,  my  father,  and  not  wet  my  cheek 
With  tears  that  tell  of  love  and  speak 
The  sadness  of  my  heart? 

"  But  ye,  that  wonder  so 
With  uprais'd«eyes  to  see  your  brother  weep, 
Soon  shall  those  little  lids,  seal'dup  in  sleep, 
Forget  a  brother's  woe. 

"  And  thou,  whom  next  I  love 
To  the  '  dear  kindred  blood '  that  fills  my  veins, 
Farewell  to  thee  —  augments  all  other  pains 
That  I  in  parting  prove. 

"  But  see !  the  white  sails  swell ! 
Ah !  blest  companions  of  my  early  youth, 
Dear  object  of  my  fondest  love  and  truth, 
Sweet  home,  and  friends,  farewell. 

CONWAY." 

During  the  summer  of  1824,  Lafayette,  the  "nation's 
guest,"  visited  Boston,  and  received  the  most  cordial 
reception ;  and  after  his  departure  for  the  South  the 
theatre  opened.  The  company  comprised  Finn,  Kilner, 
Young,  Brown,  Williams,  Clark,  Fielding  Charnock,  E. 
H.  Conway,  Johnson,  Bernard,  Spear,  Spooner,  Tyron, 


224  RECORD    OF    THE    BOSTON    STAGE. 

etc. ;  and  Mrs.  Powell,  Mrs.  Henry,  Miss  Powell,  Miss 
Placide,  Mrs.  Barnes,  Mrs.  Kilner,  Miss  Deblin,  Miss 
Clarke,  Mrs.  Clarke,  etc. 

Mr.  C.  Young  had  previously  appeared  at  this  thea 
tre;  Mr.  Williams  came  from  Philadelphia;  Miss 
Placide  from  New  Orleans.  Mr.  E.  H.  Conway  .had 
been  ballet-master  at  the  Surrey  Theatre,  and  Miss 
Deblin  was  his  pupil. 

The  "  star "  engagements  of  this  season  were  those 
of  Miss  Kelly,  Cooper,  Pelby,  and  Burroughs.  Miss 
Kelly's  benefit  attracted  a  thousand-dollar  house.  Mrs. 
Burke,  the  singer  before  alluded  to,  a  native  of  New 
York  State,  appeared,  much  improved  as  a  vocalist. 

Mr.  Finn,  this  year,  brought  out  an  original  piece, 
dedicated  to  Hon.  Daniel  Webster.  It  was  a  national 
drama,  entitled  "  Montgomery,  or  the  Falls  of  Mont- 
morenci,"  and  was  very  popular. 

On  the  22d  of  February,  1825,  the  theatre  was 
opened  in  honor  of  the  anniversary  of  Washington's 
birth-day.  The  managers,  to  commemorate  the  event, 
offered  a  prize  for  an  appropriate  ode.  Messrs.  George 
Blake,  John  Pierpont,  James  T.  Austin,  Chas.  Sprague, 
John  Everett,  Franklin  Dexter,  and  N.  L.  Frothing- 
ham,  were  a  committee  to  decide  upon  the  merits  of 
the  contributions,  and  they  unanimously  awarded  it  to 
Ebenezer  Bailey,  Esq.,  for  many  years  the  popular 
principal  of  the  Young  Ladies'  High  School.  The 
house  was  filled,  and  Mr.  Finn  gave  the  recitation  with 
his  usual  excellence. 

Cooper,  during  the  engagement  this  year,  brought 
out  "  Caius  Gracchus "  for  the  first  time.  Mr.  and 
Mrs.  J.  Barnes  returned  to  Boston  from  Europe,  and 


RECORD    OF    THE    BOSTON    STAGE.  225 

were  performing  an  engagement  on  the  7th  of  April, 
when  the  great  fire  in  Broad  street  occurred. 

At  the  Washington  Gardens,  the  theatre  was  oc 
cupied  by  an  equestrian  company,  and  the  "  Cataract 
of  the  Ganges  "  was  brought  out. 

The  theatre  closed  early  in  the  spring,  but  re-opened 
when  Lafayette  re-visited  Boston  in  June.  On  the 
17th  of  June,  1825,  the  corner-stone  of  Bunker  Hill 
Monument  was  laid  in  presence  of  the  distinguished 
stranger,  and  Hon.  Daniel  Webster  then  delivered  his 
great  address.  The  enterprise  of  newspaper  publishers 
had  not  then  reached  the  height  it  has  attained  in  more 
modern  days,  and  extracts  only  were  published.  The 
address  was,  however,  printed,  and  three  thousand  five 
hundred  copies  in  pamphlet  form,  were  sold  in  three 
days.  On  Monday,  June  20,  Lafayette  attended  the 
Boston  Theatre,  when  "  Charles  the  Second  "  was  per 
formed,  and  a  new  drop-scene  by  Worrall,  appropriate 
to  the  occasion,  was  produced.  The  dinner,  given  to 
Lafayette  by  the  Massachusetts  Mechanic  Association, 
at  which  Samuel  Perkins,  Esq.,  presided,  during  this 
visit,  was  a  notable  event.  Odes  and  poems  were 
given  or  sung  by  John  Everett,  H.  J.  Finn,  and  Wil 
liamson. 

Prior  to  the  opening  of  the  Boston  Theatre  for  the 
season  of  1825-6,  the  interior  was  re-painted  and 
decorated,  and  the  stage  extended  and  improved.  The 
company  was  composed  of  Finn,  Kilner,  Reed,  John 
son,  Edgar,  Williamson,  Brown,  Pelby;  Mrs.  Pelby, 
Miss  McBride,  Mrs.  Powell,  etc.  Miss  McBride, — 
afterwards  quite  popular  at  the  Tremont,  —  made  her 
15 


226  RECORD    OF   THE   BOSTON    STAGE. 

first  appearance  as  Miss  ffardcastle,  on  the  16th  of 
September. 

At  the  City  Theatre  there  was  quite  a  good  com 
pany  ;  Mr.  Burroughs,  Mrs.  Warring,  Mr.  and  Mrs. 
Fisher,  and  Phillips,  gave  the  theatre  a  dramatic 
importance.  In  the  month  of  October,  Cooper  brought 
out  "William  Tell,"  for  the  first  time  in  Boston. 
Frederick  Brown,  who  had,  during  an  absence  of 
several  years,  divided  his  time  between  Montreal  and 
Charleston,  S.  C.,  returned.  The  debilitating  effects  of  a 
southern  climate  were  apparent,  and  his  acting  had  not 
the  force  which  formerly  characterized  it. 

On  the  5th  of  December,  1825,  "  Venice  Preserved" 
was  brought  out  at  the  Boston  with  Cooper  as  Pierre, 
Conway  as  Jaffier,  and  Mrs.  J.  Barnes  as  Belvidera, 
and  never  probably  was  the  play  better  performed  in 
this  city.  The  combination  of  such  an  array  of  talent 
attracted  great  houses,  and  their  benefits  were  immense. 
Conway 's  benefit  was  on  Monday  evening,  Dec.  19, 
1825,  and  marks  the  commencement  of  an  interesting 
period  in  the  history  of  theatricals  in  this  city.  The 
play  was  "  Othello,"  in  which  Cooper  and  Mrs.  Barnes 
exerted  themselves  to  their  utmost,  and  received  the 
loudest  plaudits  for  their  efforts.  At  the  close  of  the 
play  it  was '.  announced  that  Mr.  Kean  was  engaged, 
and  would  appear  for  four  nights,  on  Wednesday, 
Thursday,  Friday,  and  Monday  next.  The  announce 
ment  was  received  with  tokens  of  approbation  and  dis 
approbation,  but  it  was  thought  that  the  approvers  were 
in  the  majority.  Kean's  return  to  this  country  was  of 
a  peculiar  nature.  It  was  during  the  interval  between 


RECORD    OF    THE   BOSTON    STAGE.  227 

his  two  visits  to  America,  that  Kean  lost  his  position  in 
England  both  as  an  actor  and  a  man ;  and,  for  these 
causes,  and  a  desire  to  replenish  his  exhausted  coffers, 
he  was  induced  to  risk  a  second  visit.  Kean  had 
become  so  negligent,  and  performed  Othello  and  Rich 
ard  so  disgracefully  as  to  be  hissed  repeatedly  in  the 
course  of  the  performance,  and  it  was  not  till  1822, 
when  Mr.  Young  appeared  at  Drury  Lane,  that  Kean, 
who,  for  years  had  been  without  a  competitor,  was 
aroused  from  his  lethargy.  For  a  time  he  improved, 
and  his  temporary  reform  was  more  than  counter 
balanced  by  his  subsequent  descent.  Kean's  attach 
ments  to  the  fair  sex  were  numerous,  and  it  is  said  that 
he  had  a  circular  which  he  despatched  to  the  succes 
sive  objects  of  his  affection,  which  must  have  been 
couched  in  irresistible  terms,  for  his  conquests  were 
frequent.  The  most  disgraceful  liason  was  that  with 
Mrs.  Alderman  Cox,  which  was  brought  to  public 
notice  through  the  legal  measures  resorted  to  by  the 
injured  husband.  The  trial  came  off  on  the  17th  of 
January,  1825.  Amass  of  correspondence  was  brought 
forward,  and  the  crime  proved,  and  the  result  was  a 
verdict  for  £800.  The  trial  created  a  great  sensation, 
and  the  town  and  the  press  were  about  equally  divided 
on  the  subject,  and  though  Kean's  downfall,  dated  from 
this  trial,  there  were  those  who  regarded  the  whole 
matter  as  a  piece  of  persecution,  inasmuch  as  Alder 
man  Cox  was  in  the  constant  habit  of  taking  his  wife 
behind  the  scenes,  and  was  cognizant  of  her  visiting 
Kean's  dressing-room.  Kean's  great  mistake  at  this 
time,  was  the  boldness  and  audacity  with  which  he 
braved  public  censure,  and  by  attempting  to  play, 


228  RECORD    OF   THE    BOSTON    STAGE. 

claiming  public  applause  on  the  very  heel  of  one  of  the 
most  profligate  displays  ever  made  public.  The  peo 
ple  were  so  exasperated,  that  when  he  appeared  at 
Drury  Lane,  they  would  not  allow  him  to  be  heard, 
and  though  Elliston,  the  manager,  shook  hands  with 
him  on  the  stage,  and  Kean  made  an  exculpatory 
speech,  it  availed  him  nothing.  In  the  course  of  time, 
he  regained  in  some  degree,  the  ear  of  the  public ;  but 
he  failed  in  reinstating  himself  in  his  old  position,  and 
therefore  paid  a  second  visit  to  America. 

Kean  arrived  in  New  York  in  the  fall  of  1825.  His 
loss  of  position  and  fortune  had  affected  his  health,  and 
his  once  proud  spirit  was  humbled.  Shortly  after  his 
arrival  in  New  York,  he  published  the  following  humil 
iating  card :  — 

To  the  Editors  of  the  New  York  Gazette, 

SIRS,  —  With  oppressed  feelings,  heart-rending  to  my  friends,  and 
triumphant  to  my  enemies,  I  make  an  appeal  to  that  country  famed 
for  hospitality  to  the  stranger,  and  mercy  to  the  conquered.  Allow 
me  to  say,  sirs,  whatever  are  my  offences,  I  disclaim  all  intention  of 
offering  any  thing  in  the  shape  of  disrespect  towards  the  inhabitants 
of  New  York ;  they  received  me  from  the  first  with  an  enthusiasm, 
grateful  in  those  hours  to  my  pride,  in  the  present  to  my  memory.  I 
cannot  recall  to  my  mind  any  act  or  thought,  that  did  not  prompt  me 
to  an  unfeigned  acknowledgment  of  their  favors  as  a  public,  and  pro 
found  admiration  of  the  private  worth  of  those  circles  in  which  I  had 
the  honor  to  move. 

That  I  have  committed  an  error,  appears  too  evident  from  the  all- 
decisive  voice  of  the  public;  but  surely  it  is  but  justice  to  the  delin 
quent,  (whatever  may  be  his  enormities,)  to  be  allowed  to  make 
reparation  where  the  offences  were  committed.  My  misunderstand 
ings  took  place  in  Boston.  To  Boston  I  shall  assuredly  go,  to  apologize 
for  my  indiscretions. 

I  visit  this  country  now,  under  different  feelings  and  auspices  than 
on  a  former  occasion.  Then  I  was  an  ambitious  man,  and  the  proud 
representative  of  Shakspeare's  heroes.  The  spark  of  ambition  is 


RECORD    OF    THE    BOSTON    STAGE.  229 

extinct;  and  I  merely  ask  a  shelter  in  which  to  close  my  professional 
and  mortal  career.  I  give  the  weapon  into  the  hands  of  my  enemies ; 
if  they  are  brave,  they  will  not  turn  it  against  the  defenceless. 

EDMUND  KEAX. 

Washington  Hall,  Nov.  15$,  1825. 

Of  Kean's  first  appearance  in  New  York,  various 
accounts  were  contained  in  the  papers  of  the  day.  The 
house  was  crowded,  and  the  friends  and  enemies  of 
Kean  were  nearly  equally  divided,  though  the  former 
carried  the  day.  A  newspaper  partial  to  Kean  remarks, 
that  "  when  the  curtain  was  drawn  up,  a  peal  of  applause 
rose  which  resembled  more  the  roar  of  the  ocean  than 
any  thing  else  we  ever  heard,  and  in  a  few  minutes 
after  the  mimic  Richard  himself  appearing,  the  hisses 
blended  themselves  with  the  applauding,  which  con 
tinued  without  a  moment's  cessation  for  the  space  of 
twenty  minutes.  The  hissings,  however,  were  com 
pletely  drowned  in  the  applause.  Mr.  Kean  made  an 
attempt  to  speak,  but  it  was  impossible  to  be  heard,  for 
whenever  the  multitude  of  his  friends  stopped  their 
shouting,  his  enemies  immediately  set  theirs  a  going. 
A  few  persons  in  the  slips  and  third  tier  kept  hallooing 
out,  "off!"  —  "off!" — "Kean  be  off!"  In  one  of 
the  boxes  of  the  first  tier,  a  single  gentleman,  we  pre 
sume  he  was,  with  more  than  a  usual  portion  of  lungs, 
still  kept  up  the  hissing,  but  the  rest  of  the  audience  in 
the  box  getting  tired  of  it,  rose  up  to  a  man  and  put 
him  snugly  out  into  the  lobby,  there  to  hiss  as  much  as 
he  pleased. 

At  no  one  time  was  there  more  than  one  fourth  of 
the  house  against  him,  and  many  are  of  opinion  that  the 
number  of  his  enemies  was  far  less  —  at  least  they 
diminished  toward  the  conclusion.  The  hissing  char- 


230  RECORD    OF   THE    BOSTON    STAGE. 

acters  were  noted  to  be  nearly  all  strangers,  and  the 
audience  hallooed  frequently,  "Put  the  Bostonians 
out !  "  —  "  away  with  the  noisy  Bostonians  !  "  —  "  away 
with  Buckingham  !  "  —  (alluding  to  Mr.  Jos.  T.  Buck 
ingham,  the  editor,  who  had  been  among  the  leading 
opponents  of  Kean  since  his  contempt  of  a  Boston 
audience,)  —  "  off  with  his  head!" — and  such  like 
exclamations.  When  the  play  was  concluded,  the  cur 
tain  fell  amidst  reiterated  shouts  of  applause,  and  Mr. 
Lee,  in  announcing  Mr.  Kean's  next  appearance  on 
Wednesday  evening,  in  the  character  of  Othello,  was 
cheered  to  the  very  skies." 

Encouraged  by  this  reception,  which  on  the  whole 
was  more  favorable  than  might  have  been  expected, 
and  relying  upon  the  general  acceptance  of  Kean's 
humble  apology,  the  Boston  managers  made  an  engage 
ment,  which  was  announced  as  we  have  stated  on  the 
night  of  Conway's  benefit. 

Kean  arrived  in  Boston  on  .Tuesday  evening,  and 
put  up  at  the  Exchange  Coffee  House  ;  and  on  Wed 
nesday,  December  21,  '25,  the  following  card  appeared 
in  the  morning  papers  :  — 

To  the  Editor, 

SIR, —  I  take  the  liberty  of  informing  the  citizens  of  Boston, 
(through  the  medium  of  your  journal,)  of  my  arrival,  in  confidence 
that  liberality  and  forbearance  will  gain  the  ascendancy  over  preju 
dice  and  cruelty.  That  I  have  suffered  for  my  errors,  my  loss  of 
fame  and  fortune  is  too  melancholy  an  illustration.  Acting  from  the 
impulse  of  irritation,  I  certainly  was  disrespectful,  to  the  Boston  pub 
lic  ;  calm  deliberation  convinces  me  I  was  wrong.  The  first  step 
toward  the  Throne  of  Mercy  is  confession  —  the  hope  we  are  taught, 
forgiveness.  Man  must  not  expect  more  than  those  attributes  which 
we  offer  to  God. 

EDMUND  KEAN. 

Exchange  Coffee  House. 


RECORD    OF   THE   BOSTON    STAGE.  231 

This  apology  was  received  by  some  with  contempt, 
and  by  others  was  deemed  an  ample  atonement  for  past 
indiscretions,  and  during  the  day  was  the  leading  topic 
of  conversation.  The  newspapers  generally  advised 
those  opposed  to  Kean,  to  show  their  resentment  by 
keeping  away  from  the  theatre ;  but  during  the  day,  it 
was  whispered  here  and  there,  that  Kean  would  not  be 
allowed  to  play,  and  early  in  the  afternoon  of  Wednes 
day,  Dec.  21,  1825,  Kean  being  "announced  for  Richard, 
the  street  in  front  of  the  theatre  .was  filled  with  boys, 
who  evinced  a  disposition  to  treat  Shakspeare's  repre 
sentative  with  little  regard.  All  the  tickets  were  sold 
the  day  previous,  and  on  the  opening  of  the  doors  in 
the  evening,  every  part  of  the  house  was  soon  crammed 
with  males,  not  a  female  being  present.  The  excite 
ment  inside  the  house  was  very  evident,  and  the  vocif 
eration  of  those  present  commenced  so  soon  as  the  house 
was  packed.  Outside  there  was  a  vast  accumulation 
of  people,  attracted  by  curiosity,  and  evincing  a  dispo 
sition  for  a  row.  Mr.  Finn,  one  of  the  managers,  soon 
appeared  in  front  of  the  curtain.  He  was  received 
with  great  uproar,  chiefly  from  the  gallery  and  third 
row  — the  boxes  being  principally  occupied  by  the 
stockholders  of  the  theatre,  and  friends  to  Mr.  Kean, 
who  were  in  favor  of  Kean's  performing.  Finn  an 
nounced  Mr.  Kean's  intention  to  make  an  apology,  but 
his  voice  was  drowned  in  the  shouts  of  the  discontented  ; 
and  though  an  attempt  was  made  to^quiet  the  uproar 
by  the  orchestra  performing,  it  was  no  evidence  in  thi& 
instance,  that 

"  Music  the  fiercest  grief  can  charm, 
And  fate's  severest  rage  disarm." 


232  RECORD    OF    THE    BOSTON    STAGE. 

Mr.  Kean  appeared  immediately  afterwards  upon  the 
stage,  dressed  in  his  every  day  clothes,  and  in  a  very 
penitent  and  humble  manner  seemed  to  ask  forgiveness 
of  the  public,  and  to  be  desirous  of  making  atonement 
by  an  apology.  But  the  wild  commotion  of  the  the 
atrical  elements  so  completely  astonished  him,  that  he 
said  not  a  word.  He  was  pale  and  dejected,  bat  was 
assailed  by  cries  of— "off"  —  "off"  —  pelted  with 
nuts,  pieces  of  cake,  a  bottle  of  offensive  drugs,  and 
other  missiles.  He  was  encouraged  also  with  cries  of 
"  silence  "  —  "  hear  Kean  "  —  etc.  Having  been  fairly 
pelted  from  the  stage,  Mr.  Kilner,  dressed  for  King 
Henry,  came  forward,  and  after  consultation  with  those 
in  the  stage  box,  was  heard  to  say,  "  Mr.  Kean  wishes 
to  make  an  apology  —  an  humble  apology  from  his 
heart  and  soul ;  but  he  will  not  do  it  at  the  risk  of  his 
life."  Cries  of—  "  off"  —  "  off"  —  and  —  "  his  hypo 
critical  heart  "  —  was  the  response.  One  or  two  gen 
tlemen  in  the  boxes  attempted  to  speak,  but  they  were 
not  heard ;  but  those  in  the  boxes  giving  some  encour 
agement  that  the  apology  might  be  heard,  Kean  made 
his  second  appearance.  No  intermission  of  the  uproar 
took  place,  and  he  retired  to  the  green-room,  where,  it 
is  said,  he  wept  like  a  child. 

Finding  it  impossible  to  be  heard,  the  managers  then 
held  a  written  communication  with  the  audience,  and  a 
placard  was  exhibited  on  which  was  written,  "  MR. 
KEAN  DECLINES  PLAYING,"  which  was  re 
ceived  with  laughter.  A  second  placard  then  asked 
the  question:  "SHALL  THE  PLAY  GO  ON 
WITHOUT  HIM  ?  "  This  was  answered  in  such  an 
•equivocal  manner,  that  the  managers  thought  they 


RECORD    OF   THE    BOSTON    STAGE.  233 

might  as  well  retain  the  receipts  of  the  house,  and  the 
tragedy  began  ;  but  the  vociferations  prevented  it  from 
being  heard.  After  the  first  act  had  been  performed 
in  dumb  show,  Mr.  Finn,  who  was  dressed  as  Richard, 
in  answer  to  repeated  calls  for  Kean,  stated  that  he 
had  left  the  theatre,  and  the  curtain  was  dropped. 

In  the  meantime,  the  mob  without  had  become  ex 
cited  to  phrenzy,  and  made  several  assaults  upon  the 
house ;  and  the  audience  within  began  to  think  not  so 
much  of  Kean  as  of  their  own  preservation  from  dan 
ger.  The  rabble  began  to  assail  the  lamps,  the  windows, 
and  the  entrances  to  the  boxes,  gallery,  and  pit,  A 
large  party  succeeded  in  making  a  lodgment  in  the 
lower  lobbies,  after  having  been  repulsed.  The  few 
police  officers  present  were  soon  overpowered,  but 
the  gentlemen  of  the  boxes  maintained  their  ground 
manfully  for  some  time.  Mr.  Kean  having  left  the 
house,  it  was  difficult  to  divine  the  objects  of  the  assail 
ants.  The  occupants  of  the  pit  made  a  retreat  by  the 
stage  over  the  orchestra. 

The  audience  who  were  in  the  second  tier  of  boxes 
found  themselves  in  a  most  trying  situation.  The  fierce 
conflict  with  brick-bats,  clubs,  etc.,  at  the  stairs  and 
doors,  effectually  shut  out  their  means  of  retreat,  and 
they  were  compelled  to  await  in  anxiety,  and  witness 
the  increasing  outrages,  and  approach  of  the  immense 
mob  without,  expecting  every  instant  when  the  internal 
resistance  would  be  cloven  down,  and  the  thronging 
rabble  precipitate  them  into  the  pit,  or  maim  them  with 
deadly  missiles,  or  crush  them  to  death  in  the  lobbies. 
The  sense  of  confinement,  joined  to  the  apprehension 
of  fire,  rendered  their  sensations  painful  beyond  descrip 
tion. 


284  RECORD    OF   THE    BOSTON    STAGE. 

In  this  fearful  juncture,  the  formidable  height  of  the 
windows  did  not  prevent  them  from  being  used  as  a 
mode  of  escape.  One  person  swung  himself  out  of  a 
window,  about  twenty-five  feet  from  the  ground,  and 
upon  a  thin,  narrow  board,  made  his  descent  about 
twelve  feet  on  to  the  frail  roof  of  a  small  tenement. 
He  was  afterwards  followed  by  hundreds. 

The  rabble  without,  aided  by  friends  within,  were 
finally  enabled  to  take  possession,  and  they  had  it  all 
their  own  way ;  most  of  the  occupants  of  the  boxes 
having  made  their  escape,  by  the  windows  or  over  the 
stage.  Windows,  chandeliers,  seats,  box-doors,  became 
objects  of  wanton  destruction ;  but  several  citizens,  who 
took  possession  of  the  stage,  protected  the  scenery,  at 
the  hazard  of  life  and  limb,  from  molestation,  and 
perhaps  from  fire. 

The  pit  was  the  scene  of  several  severe  tustles  ;  and 
though  an  awkward  place  for  a  fight,  many  came  to 
blows,  and  were  more  or  less  injured.  During  the  riot, 
Mr.  Justice  Whitman  read  the  riot  act  twice,  advanced 
to  the  front  of  the  stage,  and  attempted  to  address  the 
rioters,  but  without  effect ;  as  he  was  unable  to  carry 
into  execution  the  provisions  of  the  law,  from  the  small 
number  of  civil  and  police  officers  collected.  Those 
who  were  present,  with  the  sheriff,  aided  by  the  citizens, 
exerted  themselves  to  prevent  the  rioters  from  entering 
the  house,  and  to  arrest  those  who  were  in  it,  but  with 
little  success ;  and  several  in  the  discharge  of  this  duty 
were  injured  by  the  stones  and  other  missiles  hurled 
from  the  darkness,  but  none  materially.  A  few  citizens 
\vith  a  magistrate,  in  execution  of  the  law,  proceeded 
to  the  upper  parts  of  the  house,  and  immediately  dis- 


RECORD    OF    THE    BOSTON    STAGE.  235 

persed  a  gang  there  engaged  in  the  destruction  ;  which 
was  found  to  consist  principally  of  strangers  and  mis 
chievous  boys. 

The  theatre  was  damaged  to  the  extent  of  about 
$800,  and,  in  the  opinion  of  many  present,  the  riot 
might  have  been  prevented  by  the  timely  arrest  of 
some  dozen  leading  rowdies.  Those  opposed  to  Mr. 
Kean  had  not  anticipated  such  a  result ;  the  extent  of 
their  plan  was  to  prevent  Mr.  Kean's  acting,  and  when 
this  was  accomplished  they  were  satisfied;  but  they 
had  kindled  the  spirit,  and  it  vented  itself  in  this  most 
disgraceful  riot.  The  police  at  that  time,  if  the  few 
who  were  qualified  to  protect  life  and  property  are 
entitled  to  so  dignified  an  appellative,  were  not  organ 
ized  —  and  an  unorganized  body  can  do  but  little  in 
quelling  a  disturbance.  The  following  was  issued  :  — 

A  CARD. 

The  managers  of  the  Boston  Theatre  return  their  sincere  and 
thankful  gratitude  to  those  gentlemen  who,  at  personal  risk  of  their 
lives,  so  kindly  and  promptly  afforded  protection  to  their  property 
behind  the  curtain,  from  the  violence  and  illegal  attacks  of  a 
mob,  that  forcibly  entered  the  theatre  on  Wednesday  evening  last, 
and  committed  an  unprecedented  outrage  by  breaking  the  chandeliers, 
box-doors,  windows,  etc.,  and  destroying  other  property  to  a  large 
amount.  Legal  measures  have  been  taken  to  bring  the  offenders  to 
punishment.  In  the  meantime,  every  exertion  will  be  used  to  repair 
the  extensive  damage,  and  they  hope  they  shall  be  enabled  to  an 
nounce  the  re-opening  of  the  theatre  on  Monday,  Dec.  26,  with  the 
domestic  tragedy  of"  George  Barnwell." 

Mayor  Quincy  was  not  present  at  the  riot.  It  has 
been  supposed  that  he  adopted  the  principle,  that  they 
who  put  a  firebrand  into  the  theatre  must  bear  the  con 
sequences.  The  mayor,  however,  had  power  only  as  a 


236  RECORD    OF    THE    BOSTON    STAGE. 

"Justice  of  the  Peace  ;"  and  Justice  Whitman  being 
already  on  the  ground,  he  refused  personally  to  inter 
fere.  The  board  of  aldermen  immediately  took  occa 
sion  from* this  transaction  to  pass  an  order,  "  that  all 
theatrical  exhibitions  or  public  shows,  which  hereafter 
may  be  licensed  by  the  board,  shall  be  liable  to  be 
revoked  or  suspended,  notwithstanding  the  terms  of 
such  license,  whenever,  in  the  opinion  of  the  mayor  and 
aldermen  for  the  time  being,  the  same  shall  be  necessary 
to  preserve  order  and  decorum,  and  to  prevent  the 
interruption  of  peace  and  quiet ; "  and  the  following 
remarks  in  the  mayor's  inaugural  address  are  supposed 
to  have  had  reference  to  the  same  :  "  If  a  case  has  oc 
curred,  or  should  hereafter  occur,  in  which  any  person 
should,  in  defiance  of  the  moral  sense  and  general  feel 
ing  of  the  public,  adopt  any  measures  which  would 
naturally  and  almost  unavoidably  lead  to  disorder  and 
disturbance,  they  could  not  reasonably  invoke  the  aid 
of  the  authorities  of  the  city  government,  so  long  as  the 
invited  evil  was  confined  to  themselves  only  ;  but  it  is 
a  question  of  very  serious  moment,  with  the  inhabitants 
of  a  city  so  distinguished  for  its  religious  and  moral 
character,  whether  farther  checks  ought  not  to  be  pro 
vided  to  prevent  that  which  has  been  merely  tolerated, 
from  becoming  the  source  of  disturbances,  of  danger, 
and  of  disgrace,  to  the  citizens  and  their  government." 

The  managers,  by  employing  a  large  number  of 
workmen,  were  able  to  accomplish  the  task  of  re-fitting 
the  theatre  ;  and  on  Monday  evening,  the  moral  play 
of  "  George  Barnwell,"  with  "  Rumfustian,"  and  the 
"  Forty  Thieves,"  were  produced  to  a  good  house. 

Mr.  Kean  escaped  from  the  theatre  before  the  riot 


RECORD    OF    THE    BOSTON    STAGE.  237 

reached  its  height,  by  passing  through  Mrs.  Powell's 
house,  in  Theatre  Alley,  which,  adjoining  the  theatre, 
had  a  door  to  communicate  with  it.  We  have  heard 
that  Kean  slept  that  night  at  the  "  Lamb  Tavern,"  and 
left  the  next  day ;  but  we  believe  the  most  authentic 
account  is  that  we  have  received  from  "  Tim  Divol," 
who  for  years  drove  a  hack  for  Niles,  and  who,  early 
in  1853,  was  found  drowned  near  Charlestown  bridge. 
He  drove  Kean  and  Kilner  to  Brighton,  where  the 
former  took  the  stage  from  Boston  for  Worcester. 
Kean  soon  after  appeared  at  Albany,  Montreal,  Phila 
delphia,  and  Baltimore.  At  the  latter  place  there  was 
an  attempt  at  a  riot,  whether  to  show  resentment  for 
the  insult  offered  a  Boston  public,  or  to  reprove  Kean 
for  his  immorality,  we  do  not  know.  His  friends,  how 
ever,  anticipating  trouble,  displayed  a  banner  when  the 
shouting  commenced,  requesting  those  in  his  favor  to 
remain  silent,  which  had  the  effect  of  singling  out  the 
evil  disposed,  who  soon  saw  their  weakness,  and  desisted 
from  further  attempts  to  imitate  the  mobocratic  and 
disgraceful  feats  of  the  Boston  rowdies.  Many  may 
perhaps  think  that  the  coloring  we  have  given  to  this 
affair  is  favorable  to  Kean  ;  but  time  has  softened  the 
asperities  even  of  Kean's  most  inveterate  enemies,  and 
though  he  was  guilty  of  unpardonable  insolence  towards 
the  public,  the  retaliation  was  unbecoming  an  enlight 
ened  community.  Had  the  affair  terminated  with 
driving  Kean  from  the  stage,  we  should  acquiesce  in 
the  verdict ;  but  scenes  of  violence  have  no  apology, 
especially  when  the  innocent,  as  in  this  case,  suffered 
more  that  the  guilty. 

Miss  Kelly  came  after  the  Kean  riot,  and  was  sue- 


238  RECORD    OF    THE    BOSTON    STAGE. 

ceeded  by  Hamblin,  formerly  the  manager  of  the 
Bowery  Theatre,  New  York.  Mr.  and  Mrs.  George 
Barrett  also  appeared,  and  "  Cherry  and  Fair  Star  " 
was  brought  out  this  season  for  the  first  time.  Cooper 
and  Mr.  and  Mrs.  J.  Barnes  were  also  here,  but  the 
houses  were  not  remarkable  ;  and  the  effect  of  the 
Kean  riot  had  not  worn  off  when  the  theatre  closed. 


CHAPTER  XVI. 

The  City  Theatre. —  Mtelzel's  Automaton  Chess  Player.  —  Mrs. 
Pelby.  —  Williamson.  —  Mrs.  Hamblin.  —  Forest.  —  Macready.  — 
Macready's  First  Appearance  in  Boston.  —  Tickets  at  Auction.  — 
Paul  Pry.  —  First  Appearance  of  Edwin  Forest.  —  Receipts.  —  A 
Sketch  of  Edwin  Forest,  etc.  etc. 

IN  the  summer  of  1826,  the  citizens  were  supplied 
with  amusement  at  the  City  Theatre,  formerly  the 
Washington,  where  Mr.  Stimpson  with  an  equestrian 
and  dramatic  company,  composed  of  Messrs.  Ricker, 
Whitaker,  Laforest,  Mrs.  Godey,  Mrs.  Benjamin,  Mr. 
and  Mrs.  Eberle,  and  Mr.  Richards,  gave  entertain 
ments.  Maelzel's  Automaton  Chess  Player  at  Julien 
Hall,  puzzled  the  quid  nuncs  —  the  discovery  not  then 
being  made  of  the  real  automaton  inside,  who,  on  a  cry 
of  "  fire ! "  started  by  some  wag,  made  a  rapid  exit 
from  his  limited  quarters. 

The  season  at  the  old  house  commenced  September 
25th.  Mr.  and  Mrs.  Blake  were  annou  .ced  to  appear, 


RECORD    OF    THE    BOSTON    STAGE.  239 

but  owing  to  some  caprice,  did  not  make  their  appear 
ance,  and  a  Mr.  Stanley  was  substituted ;  he  was  a 
very  good  actor  in  genteel  comedy.  Kilner  did  not 
appear  during  the  early  part  of  the  season,  having 
broken  his  leg.  Mrs.  Papanti  and  Mr.  Brown  were 
added  to  the  company.  Mr.  Pelby  made  his  first 
appearance  after  his  return  from  Europe,  and  a  critical 
remark  then  made  gives  an  accurate  idea  of  his  abilities. 
"  His  voice,"  says  a  newspaper,  "  is  not  good ;  and  we 
have  to  regret,  that  by  this  fault  of  nature,  his  talents 
as  an  actor,  which  are  of  no  ordinary  cast,  can  never  be 
duly  appreciated." 

"Williamson  played  Count  JBelino,  in  the  "  Devil's 
Bridge,"  to  Mrs.  Papanti's  Rosalvini.  The  lady  was 
pronounced  of  a  higher  order  as  a  vocalist  than  any 
that  had  appeared  for  many  years. 

Mrs.  Hamblin,  wife  of  Tom  Hamblin,  appeared  in 
October,  1826,  and  was  an  interesting  actress.  This 
season  was  marked  by  the  first  appearance  before  a 
Boston  audience  of  two  persons,  whose  career  have 
been  among  the  most  prosperous  ever  recorded  in  the 
atrical  annals,  and  for  many  years  have  been  the 
representatives  of  the  American  and  English  stage. 
We  allude  to  Forrest  and  Macready. 

The  latter,  then  fresh  from  Europe,  made  his  first 
appearance  in  Boston,  on  Monday,  October  30,  1826, 
in  the  character  of  Virginius,  to  a  crowded  and  fash 
ionable  house.  Hon.  Daniel  Webster  was  present,  and 
on  his  entering,  was  received  with  cheers.  Macready 
performed  during  his  engagement,  Macbeth,  Damon, 
William  Tell,  Hamlet,  and  repeated  Virginius  and 
other  characters. 


240       RECORD  OF  THE  BOSTON  STAGE. 

The  demand  for  tickets  was  very  great,  and  specu 
lators  reaped  a  rich  harvest.  The  managers  endea 
vored  to  put  a  stop  to  it,  but  their  efforts  proving  futile, 
they  adopted  the  only  satisfactory  course  —  that  of  sell 
ing  at  auction  —  in  Merchants'  Hall.  The  premium 
received  on  the  sale  of  tickets  for  his  benefit,  was 
$392.50,  and  during  the  whole  time,  about  $1000. 
Mr.  Macready  was  indisposed  one  evening,  during  the 
engagement,  and  did  not  play.  On  his  last  night,  he 
was  called  out,  and  announced  that  before  he  returned 
to  Europe,  he  should  have  the  pleasure  of  re-visiting 
Boston.  Mr.  Cooper  followed  immediately  upon  Mac- 
ready's  heels,  and  appeared  in  the  same  range  of 
characters,  supported  by  Mrs.  Gilfert. 

In  December,  Mr.  Finn  brought  out  "  Paul  Pry " 
with  the  following  cast: —  Col.  Hardy,  Kilner;  Frank 
Hardy,  Mr.  Williamson ;  Harry  Stanley,  Stanley ;  and 
Paul  Pry,  Mr.  Finn  ;  —  one  of  his  best  impersonations. 
Mrs.  Subtle,  Mrs.  Barnes  ;  Eliza,  Mrs.  Papanti ;  Maria, 
Miss  McBride  ;  Phcele,  Mrs.  Pelby.  The  piece  took 
well,  owing  to  Mr.  Finn's  inexhaustible  fund  of  humor, 
and  had  a  good  run.  "  Aboun  Hassan,"  a  dull  piece, 
was  produced ;  and  "  The  Lady  of  the  Lake "  dra 
matized  by  Mr.  Cambridge.  A  Bostonian  made  his  ap 
pearance  as  Holla. 

On  the  5th  of  February,  1827,  Mr.  Edwin  Forrest 
made  his  first  appearance  in  Boston,  opening  in  his 
great  part  of  Damon,  Mr.  Finn  appearing  as  Pythias. 
Mr.  Forrest  also  appeared  as  William  Tell,  Sir  Edward 
Mortimer,  Othello,  Lear,  Richard  the  Third,  and  on  the 
23d  inst,  performed  Eolla,  a  character  eminently  his 
own.  At  that  time  he  gave  glorious  promise  of  his 


RECORD    OF    THE    BOSTON    STAGE.  241 

subsequent  splendid  career.  Every  one  was  pleased 
with  his  style,  and  he  was  pronounced  the  Kemble  of 
the  country. 

The  receipts  during  this  engagement,  were  as  fol 
lows  :  — 

1827.     Feb.     5th,  Monday,  Damon,     ..  .        .     $341  50 

7th,  Wednesday,  Wm.  Tell,    .  .        .    457  75 

9th,  Friday,  Iron  Chest,  .        .         526  50 

12th,  Monday,  Othello,        .  .         .     412  00 

14th,  Wednesday,  Lear,        .  .        .,       405  50 

16th,  Friday,  Wm.  Tell,   .  .        .408  00 

19th,  Monday,  Richard  III., 

(Forrest's  Benefit,)  945  00 

21st,  Wednesday,  Damon,        .  .        .    453  75 

23d,    Friday,  Pizarro,   .  .                 760  00 

Total,  $4,710  00 

More  than  a  century  has  now  elapsed  since  the  first 
theatrical  representation  in  this  country  was  given,  by 
a  band  of  English  actors  in  Virginia,  and  during  that 
long  period  of  time,  the  histrionic  art  in  this  country 
has  flourished,  we  regret  to  say,  not  by  the  representa 
tions  of  native  actors  or  native  productions,  but  its 
most  efficient  supporters  have  been  of  English  parent 
age,  and  the  most  popular  plays  of  foreign  emanation. 
We  may,  perhaps,  claim  the  pride  which  a  father  has 
in  an  adopted  son,  in  the  person  of  Cooper,  whose 
youthful  efforts  first  met  encouragement  in  this  country,, 
and  whose  genius  was  developed  by  generous  patron 
age  here ;  —  and  to  Booth  we  feel  bound  by  that  tie  of 
kindred,  which  the  stranger  feels  in  the  exiled,  who, 
cast  off  and  persecuted  at  home,  is  warmed  into  life,  and 
receives  fresh  impulses  under  a  more  genial  sky ;  —  but 
16 


242  RECORD    OF   THE    BOSTON    STAGE. 

in  Cooke  and  Kean,  the  two  brightest  stars  which  have 
visited  our  theatrical  firmament,  and  a  host  of  others 
^who  have  wandered  to  our  shores  —  some  to  become  its 
adopted  citizens,  and  some  to  gather  the  golden  plaudits, 
.and  then  return  to  the  land  of  their  birth  —  we  take  no 
:pride,  save  that  which  is  reflected  from  the  act  of  en 
couraging  talent  irrespective  of  nation. 

It  is  true,  that  now  arid  then  an  actor  has  sprung  up, 
wvho  gave  promise  of  a  brilliant  future,  but  whose 
career  has  either  been  shortened  by  death  ere  the  fulfil 
ment  of  our  hopes  was  attained,  or  who  fell  a  victim  to 
extra  vagant  applause  or  vicious  habits,  ere  the  Thes 
pian  wreath  graced  his  brow ;  but  we  have  no  lengthy 
catalogue  of  actors  to  point  to,  as  the  proud  pillars  of 
,the  American  drama.  There  is,  however,  one  who 
stands  out  prominent  as  the  great  American  star,  who  is 
to  this  country  what  Talma  is  to  France  —  what  Gar- 
rick  is  to  England  —  the  noblest  representative  of  his 
nation's  drama  —  aye,  we  may  say,  more  the  creator  of 
our  national  drama  —  for  Edwin  Forrest  has  done 
more,  individually,  than  all  the  theatres  in  the  country 
combined,  to  draw  forth  and  reward  the  talents  of 
native  dramatists.  Edwin  Forrest  was  born  on  the 
9th  -.of  March,  1806,  in  George  street,  Philadelphia, 
and  early  in  life  was  the  member  of  a  company  of 
amateur  actors,  who  gave  private  entertainments  to 
their  friends  in  the  old  Apollo  in  South  street,  which 
they  hired  on  special  occasions.  He  was  at  one  time 
in  the  counting-house  of  J.  R,  Baker  &  Son,  German 
Importers,  but  his  mercantile  habits  were  not  remarka 
bly  exemplary,  owing  to  his  love  of  the  drama.  His 
first  appearance  in  public  was  in  1818,  when  he  played 


RECORD    OF    THE    BOSTON    STAGE.  243 

Norval  at  the  Tivoli  Garden.  On  the  27th  of  Novem 
ber,  1820,  he  made  his  second  appearance  in  that  char 
acter,  at  the  Walnut  Street  Theatre,  and  played  Octa- 
vian  for  his  benefit,  January  6,  1821.  Mr.  Forrest 
was  warmly  applauded  by  his  friends,  but  young  as  he 
then  was,  he  became  fully  conscious  of  the  necessity 
of  self-dependence,  and  resolved  to  apply  himself 
thoroughly  to  his  profession.  Having  an  opportunity 
to  visit  the  western  theatres,  he  accepted  an  engage^ 
ment  in  1822,  which  was  with  Messrs.  Collins  &  Jones 
in  Cincinnati,  where  he  played  the  subordinate  charac 
ters,  by  which  he  gradually  qualified  himself  for  that 
proud  position  he  at  present  maintains.  We  have  seen 
it  stated,  that  Forrest,  while  at  the  West,  played  the 
character  of  a  negro  dandy,  and  that  he  at  one  time 
entertained  a  serious  idea  of  joining  a  circus  company. 
If  this  is  true,  the  more  does  it  reflect  to  his  credit. 
The  elder  Kean  was  at  one  time  an  equestrian  per 
former,  but  we  do  not  know  that  it  ever  detracted  from 
the  pleasure  of  witnessing  his  masterly  performances, 
or  that  the  fact  that  Mr.  Forrest  was  willing  to  oblige  a 
manager  or  to  gratify  himself,  or  by  necessity  "  blacked 
up  "  for  a  part,  ever  rendered  his  Othello  less  effective, 
or  his  Richelieu  less  imposing.  After  an  absence  of 
several  years,  he  returned  to  the  North,  and  fulfilled  a 
successful  engagement  at  the  Albany  Theatre,  then 
under  the  management  of  the  eccentric  Charles  Gilfert, 
whose  powers  of  persuasion  were  so  strong,  that  he 
could  always  prevail  upon  the  sheriff  to  go  bail  for 
him  after  arresting  him.  In  the  summer  of  1826,  Mr. 
Forrest  visited  his  native  city,  and  from  that  time 
rapidly  rose  in  his  profession.  Mr.  Forrest  appeared 


244       RECORD  OF  THE  BOSTON  STAGE. 

subsequently  in  Washington  and  in  New  York,  where 
a  paper  remarked :  — 

"  Endowed  with  a  versatility  of  powers  unequalled 
at  this  time  on  the  American,  and  unsurpassed  on  the 
English  stage,  it  may  with  truth  be  said,  that  Mr.  For 
rest  possesses  within  himself  the  '  elements  of  great 
ness;'  and  though 

' hard  it  is  to  climb, 


The  steep  where  Fame's  proud  temple  shines  afar,' 

yet,  if  he  judiciously  husbands  his  resources,  and  tem 
pers  with  discretion  the  exercise  of  his  powers,  he  may 
select  his  own  point  of  eminence,  and,  with  an  eagle's 
flight  attain  it," 

Mr.  Forrest,  as  early  as  1829,  made  his  first  attempt 
to  encourage  native  talent,  by  offering  a  prize  of  $500 
for  the  best  written  tragedy  founded  on  American 
History.  The  successful  competitor  was  J.  A.  Stone, 
Esq.,  who  produced  "  Metamora,"  which  was  first  per 
formed  in  New  York,  December  15,  1829.  The  suc 
cess  of  the  play  was  great,  but  it  was  not  needed  to 
give  popularity  to  Mr.  Forrest,  who,  previous  to  its 
production  did  an  immense  business,  the  houses  averag 
ing  $1,000  per  night,  and  on  the  night  of  his  benefit 
there  was  $1,370  in.  The  play  of  "  Metamora  "  was 
followed  by  Dr.  Bird's  «  Gladiator,"  for  which  Mr. 
Forrest  paid  a  remunerating  price  to  the  author.  This 
piece  was  followed  by  "Oralloosa,"  etc.  His  gene 
rosity  in  recompensing  dramatic  authors,  gave  an  im 
pulse  to  that  branch  of  literature,  which  had  a  bene 
ficial  effect  for  many  years.  In  1833,  on  the  occasion 
of  the  Dulnap  benefit  in  New  York,  Mr.  Forrest 


RECORD    OF   THE    BOSTON    STAGE.  245 

played  Pierre  to  Kemble's  Jaffier,  Fanny  Kemble  ap 
pearing  as  Helvidera.  In  the  early  part  of  the  year 
1834,  Mr.  Forrest  signified  his  intention  of  visiting 
Europe,  and  soon  afterwards  sailed  for  Havre,  the  citi 
zens  of  New  York  having  given  him  a  farewell  dinner 
prior  to  his  departure.  He  visited  Italy,  and  extracts 
from  his  letters  to  private  friends  were  frequently 
published.  In  183G,  Mr.  Forrest  paid  his  first  profes 
sional  visit  to  England,  and  made  his  first  appearance 
on  the  London  stage  on  the  17th  of  October,  1836. 

It  was  during  this  visit  that  Mr.  Forrest  was  married 
to  Catherine  Sinclair,  daughter  of  John  Sinclair. 

Mr.  Forrest's  return  to  this  country  was  a  complete 
ovation.  Everywhere  he  was  received  with  the  most 
flattering  marks  of  approbation,  and  the  receipts  of  the 
first  three  nights  at  the  Park  Theatre,  New  York, 
amounted  to  $4,200.  For  several  years  Mr.  Forrest 
continued  to  perform  in  every  city  of  the  Union  with 
the  most  marked  success,  and  his  advent  was  looked  for 
•with  impatience  by  his  many  admirers  and  lovers  of  th 
drama.  In  1845  Mr.  Forrest  paid  a  second  visit  to 
London,  and  while  performing  at  the  Princesses'  The 
atre,  was  hissed  during  the  performance.  This  indignity 
Mr.  F.  attributed  to  Macready's  influence.  Mr.  Forrest 
subsequently  hissed  Macready  in  Edinburgh,  for  what 
he  considered  a  violation  of  good  taste  by  the  introduc 
tion  of  a  pas  de  mouchoir  in  "  Hamlet."  These  acts 
were  the  commencement  of  that  sad  tragedy  in  real 
life,  which  terminated  in  the  riot  at  the  Astor  Place 
Opera  House,  New  York,  on  the  night  of  the  10th  of 
May,  1849,  when  twenty -two  were  killed,  and  thirty- 
six  wounded.  On  the  9th  of  February,  1852,  Mr. 


246  RECORD    OF    THE    BOSTON    STAGE. 

Forrest  made  his  first  appearance  after  the  verdict  in 
the  divorce  case  of  Forrest  v.  Forrest  had  been  given, 
at  the  Broadway  Theatre,  New  York.  His  success 
was  immense,  and  the  engagement  continued  till  April 
30th,  a  period  embracing  SIXTY-NINE  NIGHTS  ;  an 
engagement  unparalleled  in  the  annals  of  the  American 
stage.  At  the  conclusion  of  this  triumph,  the  company 
presented  him  with  a  gold-headed  cane,  and  he  was 
serenaded  at  his  hotel. 

Mr.  Forrest,  considered  as  an  actor,  would  occupy 
more  room  than  we  -can  afford  at  this  time.  A  writer 
remarked  of  him  nearly  a  quarter  of  a  century  ago  :  — 

"  An  American  by  birth,  education,  and  feeling,  he 
has  been  the  architect  of  his  own  reputation  ;  with  no 
adventitious  aid,  he  has  formed  his  style  of  acting  from 
the  study  of  nature,  and  the  dictates  of  his  own  judg 
ment.  In  addition  to  a  fine  natural  genius  for  the 
stage,  Mr.  F.  possesses,  in  an  eminent  degree,  the 
physical  requisites  of  a  great  actor  —  a  person  of  fine 
proportions  —  carriage  graceful  and  commanding  — 
voice  full  and  powerful  —  a  face  beaming  with  intellect, 
and  capable  of  portraying  the  passions  in  their  deepest 
energy ;  to  which  are  superadded  the  advantages  of  a 
taste  matured  by  study  and  observation,  and  a  constitu 
tion  which  sustains  him  in  uninterrupted  exercise  of  his 
arduous  profession.  Nature  having  been  thus  bounti 
ful  to  the  subject  of  these  remarks,  he  has  shown 
that  her  benefits  have  not  been  unappreciated  or  mis 
applied." 

We  need  add  nothing  farther,  for  what  was  then 
uttered  will  find  a  responsive  approval  from  all  who 


RECORD    OF    THE    BOSTON    STAGE.  247 

have   witnessed  Mr.   Forrest's   impersonations  during 
the  past  year  in  Boston  and  New  York. 

Mr.  Forrest  has  been  frequently  solicited  to  permit 
his  name  to  be  used  as  candidate  for  public  office,  by 
his  democratic  brethren.  This  he  has  refused,  seeking 
no  other  honor  than  that  he  could  legitimately  lay  hold 
on,  in  his  arduous  professional  career. 


CHAPTER    XVII. 

Macready's  Reappearance. — Mrs.  Knight. — The  Washington  The-- 
atre.  — The  Mermaid. —  The  Project  of  a  New  Theatre.  — Mr. 
William  Pelby.  —  Act  of  Incorporation.  —  Departure  of  Mr.  Finn 
for  Europe.  —  Opening  of  the  War  between  the  Rival  Houses.  — 
Tom  Flynn.  —  George  Andrews.  —  Miss  Rock.  —  Baron  Racket. 
—  The  Two  Dromios.  —  Miss  Clara  Fisher.  —  Opening  of  the 
Tremont  Theatre.  —  The  Prize  Address.  —  The  First  Struggle  for 
Supremacy. 

IMMEDIATELY  after  Forrest's  engagement,  Macready 
reappeared,  announced  as  "  positively  the  last  visit  he 
can  ever  have  the  honor  of  paying  Boston ; "  a  state 
ment  which,  however  true  for  the  time  being,  has  not 
been  confirmed,  as  the  gentleman  has  frequently  ap 
peared  in  this  city  since  then.  The  engagement  was 
very  successful.  Mrs.  Knight,  formerly  Miss  Povey, 
appeared  at  the  Boston,  but  did  not  creats  the  sensation 
she  had  in  New  York.  As  a  vocalist,  she  was  very 
good,  and  possessed  considerable  talents  as  an  actress. 


248       RECORD  OF  THE  BOSTON  STAGE. 

The  benefit  season  came  on,  and  on  the  occasion  of 
Miss  Pelby's  benefit,  her  father  and  mother  appeared 
with  herself,  in  "  William  Tell." 

The  Washington  Theatre,  formerly  the  City  Theatre, 
which,  by  the  way,  changed  name  with  every  manager, 
in  the  month  of  May  was  opened  by  Mr.  Burroughs, 
who  brought  the  company  from  the  Lafayette  and 
Albany  theatres,  which  consisted  of  Mr.  Thayer,  (who 
made  his  debut  in  Boston  as  a  member  of  the  Philo 
Dramatic  Society,)  Mrs.  Walstein,  J.  Mills  Brown,  Mr. 
Reed,  Mrs.  McBride,  and  others.  The  ring  was  con 
verted  into  a  pit,  and  attempts  were  made  to  do  the 
legitimate,  but  Mr.  Burroughs  found  in  the  course  of  a 
short  time  that  he  had  attempted  a  fruitless  task.  He 
had  during  the  summer,  also,  a  very  powerful  com 
petitor.  A  distinguished  visitor  from  the  Fejee  Islands 
had  arrived  in  town,  and  taken  rooms  at  No.  3  Scollay's 
Buildings,  where,  surrounded  by  marine  shells  and  a 
few  of  the  native  productions  of  her  country,  she  held 
levees,  day  and  evening,  which  proved  very  attractive. 
The  same  mermaid,  after  various  travels,  has  finally 
settled  down  at  the  Boston  Museum,  where  she  can  be 
seen  in  all  her  beauty. 

Early  in  February,  1827,  the  project  of  a  new  theatre 
was  broached.  Notwithstanding  the  excellent  manage 
ment  at  the  old  house,  a  strong  feeling  of  opposition  to 
it  was  manifested,  which  dated  from  the  Kean  riot. 
The  theatre  had  been  but  poorly  supported,  and  this 
decline,  which  should  have  been  attributed  to  the  true 
causes,  —  the  fickleness  of  the  public,  the  commencement 
•of  lectures,  etc.,  was  alleged  to  be  the  result  of  feeble 
ness  on  the  part  of  the  managers,  to  cater  acceptably 


RECORD    OF    THE"  BOSTON    STAGE.  249 

for  the  public  taste.  At  this  period,  a  difficulty  occur 
red  between  the  late  William  Pelby  and  the  managers, 
Messrs.  Finn  and  Kilner,  of  the  old  theatre ;  he  de 
manding,  as  an  actor,  exorbitant  terms  and  privileges, 
which  being  denied  him  as  unusual  and  unjustifiable, 
caused  him  to  seek  out  his  friends,  who  rallied  around 
him  under  the  idea  that  William  Pelby  had  been  shut 
out  from  this  theatre,  and  that  he  had  been  proscribed. 
The  quarrels  of  actors  and  managers  were  then  subjects 
of  which  the  general  public  took  cognizance,  and  often 
times  sided  with  or  against,  making  a  very  small  affair 
oftentimes  a  question  for  a  party  division.  Mr.  Pelby's 
friends  were  determined  to  see  him  righted,  and  the 
building  of  a  new  theatre  was  proposed.  This  was  the 
origin  of  the  Tremont  Theatre,  though  its  erection  sub 
sequently  became  a  matter  of  private  speculation.  At 
a  meeting  of  gentlemen  of  wealth  and  influence,  holden 
at  Concert  Hall,  in  the  early  part  of  February,  1827,  Mr. 
Pelby  guaranteed  to  the  shareholders  eight  per  cent, 
per  annum,  for  ten  years,  on  the  cost.  The  stock  was 
taken  up,  and  the  stockholders  numbered  about  six 
hundred,  which,  twenty-five  years  ago,  comprised  most 
of  the  leading  theatre-goers  of  the  city,  whose  influence 
was  naturally  in  favor  of  the  new  theatre  ;  and  in 
March,  1827,  the  following  organization  took  place  :  — 
Trustees  —  Edward  H.  Robbins,  Jr.,  Wm.  P.  Mason, 
Charles  F.  Kupfer,  Sen.,  Willard  Badger,  and  Augustus 
Peabody,  Esqrs.  Secretary  —  W.  P.  Gragg,  Esq. 
Treasurer  —  W.  H.  Gardiner,  Esq.  Building  Com- 
mittee  —  E.  II.  Robbins,  Jr.,  James  Page,  James 
McAllaster,  Alphcus  Carey,  Joseph  H.  Thayer,  John 
Redman,  and  Solomon  Towne,  Esqrs. 


250  RECORD    OF    THE    BOSTON    STAGE. 

A  site  of  land  was  the  next  step  to  be  taken.  It 
was  proposed  to  buy  the  Washington  Garden  property, 
and  erect  there  a  first  class  theatrical  temple,  and  some 
of  the  stockholders  of  the  theatre  in  Federal  street  were 
disposed  to  sell  the  whole  of  their  property,  but  the 
land  in  Tremont  (then  Common)  street  was  finally 
agreed  upon  and  purchased.  It  had  been  previously 
used  for  Gragg  &  Brigham's  livery  stables.  The  foun 
dation  walls  were  laid  in  May.  There  was  some  trouble 
in  naming  the  theatre.  It  was  proposed  at  first  to  call 
it  the  "  Franklin,"  the  "  Columbia,"  etc.  etc. ;  but  in 
June,  the  trustees  agreed  that  the  edifice  should  be 
designated  the  TREMONT  THEATRE,  and  the  application 
made  to  the  legislature  for  an  act  of  incorporation  was 
made  in  the  name  of  the  "  Stockholders  of  the  Tremont 
Theatre." 

As  a  matter  of  record,  we  give  below  the  act  of  in 
corporation.  Only  two  of  the  gentlemen,  who  peti 
tioned  for  it,  survive:  — 

Commonwealth  of  Massachusetts,  A.  D.  1827. 
AN    ACT 

TO  INCORPORATE  THE  PROPRIETORS  OF  THE  TREMONT  THEATRE. 

SEC.  1.  Be  it  enacted  by  the  Senate  and  House  of  Representatives, 
in  General  Court  assembled,  and  by  the  auUiority  of  the  same,  That 
Thomas  H.  Perkins,  Edward  D.  Clark,  Charles  F.  Kupfer,  Thomas 
Brewer,  John  Redman,  and  Oliver  Mills,  and  all  such  persons  as  are 
or  may  be  associated  with  them,  for  the  purpose  of  erecting  and 
keeping  a  theatre  in  Boston,  and  their  successors,  be,  and  they  are 
hereby  made  a  Corporation,  by  the  name  of  the  Proprietors  of  the 
Tremont  Theatre ;  and  by  that  name  they  may  sue  and  be  sued,  have 
a  Common  Seal,  and  have  and  enjoy  all  the  powers  and  privileges, 
and  be  subject  to  all  the  duties  incident  to  Corporations;  and  they 
shall  have  power  to  make,  and  at  their  pleasure  to  alter,  such  by 
laws,  for  the  management  and  regulation  of  their  corporate  property 
and  concerns,  as  to  them  may  appear  expedient;  provided,  the  same 


RECORD    OF   THE    BOSTON    STAGE.  251 

be  not  repugnant  to  the  Constitution  or  Laws  of  this  Common 
wealth. 

SEC.  2.  Be  it  further  enacted,  That  said  Corporation  be  author 
ized  to  purchase,  take  and  hold,  the  land  on  which  said  Proprietors 
are  now  erecting  a  Theatre  on  Common  street,  in  the  city  of  Boston ; 
and  such  other  real  and  personal  estate  as  may  be  the  necessary  and 
proper  appendages  of  a  Theatre,  and  manage  and  direct  the  opera 
tions  of  the  same  as  a  corporate  body ;  provided,  the  whole  real 
estate  shall  not  exceed  one  hundred  thousand  dollars,  and  the  per 
sonal  estate  shall  not  exceed  fifty  thousand  dollars. 

SEC.  3.  Be  it  further  enacted,  That  the  said  corporate  property 
shall  be  divided  into  shares  of  equal  value,  and  no  transfer  of  a  share 
shall  be  valid,  until  such  transfer  be  recorded  by  the  Clerk  of  the 
Corporation ;  and  such  shares  may  be  attached  on  mesne  process, 
and  taken  and  sold  on  execution  according  to  law. 

SEC.  4.  Be  it  further  enacted,  That  any  one  or  more  of  the  per 
sons  named  in  the  first  section  of  this  act,  be  authorized  to  call  the 
first  meeting  of  said  Proprietors,  for  the  purpose  of  organizing  the 
Corporation,  to  be  holden  at  such  time  and  place  as  he  or  they  shall 
appoint,  by  giving  ten  days  notice  thereof  in  an  advertisement,  to  be 
published  in  one  or  more  of  the  Boston  newspapers. 

SEC.  5.    Be  it  further  enacted,  That  this  act  may  be  altered, 
amended,  or  repealed,  at  the  discretion  of  the  Legislature. 
[Approved  by  the  Governor,  June  16th,  1827.] 

On  the  fourth  of  July,  the  same  year,  (1827,)  the 
corner-stone  was  laid.  It  is  at  the  north  corner,  front 
ing  on  Tremont  street.  No  ceremony  of  any  note  took 
place.  A  few  remarks  were  made  by  the  chairman  of 
the  building  committee.  A  box  containing  copies  of 
the  newspapers  of  the  day,  English  and  American 
coins,  and  a  copy  of  the  act  of  incorporation,  was 
securely  soldered  by  Edward  D.  Clark,  Esq.,  the  well 
known  auctioneer,  and  placed  beneath.  Inside  of  the  box 
was  the  following  record  engraved  on  a  silver  plate:  — 

COMMONWEALTH   OF   MASSACHUSETTS. 

On  the  fourth  day  of  July,  in  the  year  of  our  Lord  one  thousand 
eight  hundred  and  twenty-seven,  and  the  Independence  of  the 


252  RECORD    OF    THE    BOSTON    STAGE. 

United  States  of  America,  the  fifty  second,  this  inscription  was 
deposited  by  the  Proprietors  of  the  Tremont  Theatre,  in  token  of 
laying  the  Corner  Stone. 

Treasurer  —  W.  H.  Gardiner. 

Secretary  —  Washington  P.  Gragg. 

Building  Committee  —  Edward  H.  Kobbins,  Jr.,  Oliver  Mills,  John 
Redman,  Solomon  Towne,  James  Page,  James  McAllaster,  Charles 
F.  Kupfer,  Edward  D.  Clark,  »AIpheus  Gary. 

Architect  —  Isaiah  Rogers. 

Lessee  —  William  Pelby. 

President  of  the  United  States — John  Quincy  Adams. 

Governor  of  Massachusetts  —  Levi  Lincoln. 

Mayor  of  the  City  of  Boston  —  Josiah  Quincy. 

There  is  a  slight  change  between  the  list  first  given 
of  the  first  building  committee  and  the  last,  which  was 
made  during  the  process  of  erection. 

The  theatre  was  erected  in  a  very  short  time.  Its 
heavy  granite  front  at  that  time  was  the  admiration  of 
the  people,  and  the  papers  of  the  day  recorded  its 
progress  with  pride.  Mr.  Pelby  offered,  early  as  May, 
1827,  a  premium  of  one  hundred  dollars  in  money  or 
plate  to  the  author  of  the  best  poem,  of  not  less  than 
fifty  or  more  than  seventy  lines,  to  be  recited  at  the 
opening  of  the  theatre,  and  a  committee  was  appointed 
to  award  the  prize. 

The  proprietors  and  managers  of  the  old  theatre 
were  determined,  however,  not  to  allow  the  rival  house 
an  easy  conquest,  and  Mr.  Finn  was  despatched  to 
England  for  recruits,  and  the  interior  of  the  theatre 
was  thoroughly  renovated.  The  excitement  produced 
by  this  state  of  things  was  very  great,  equalling  almost 
that  which  now  precedes  a  local  election.  Many  — 
and, especially  the  older  portion  of  the  community  — 
adhered  to  the  "  Old  Drury."  It  was  there  that  they 


RECORD    OF    THE    BOSTON    STAGE.  253 

had  first  beheld  Hodgkinson,  Fennel,  Cooke,  Cooper, 
and  others,  and  their  associations  with  the  house  were 
of  too  pleasant  a  nature  to  be  broken  off  for  any  trivial 
cause,  and  their  affections  too  permanently  located  to 
be  won  by  any  new  beauty.  There  were  others  who 
were  equally  partial  to  the  new  house  —  they  had 
either  been  instrumental  in  its  erection,  or  were  at 
tracted  by  the  novelty  of  the  project;  and,  conse 
quently,  as  the  time  approached  for  the  opening  of  both 
houses,  there  was  some  little  boasting  about  the  rela 
tive  merits  of  the  two  companies  engaged,  Finn,  hav 
ing  arrived  from  England  with  strong  reinforcements 
per  Coral  and  Brookline,  and  Pelby,  having  scoured 
the  American  market,  offering  large  salaries  for  any 
available  talent. 

The  Federal  Street  commenced  the  campaign  on  the 
17th  of  September,  1827,  with  the  "Rivals"  and  the 
"  Young  "Widow."  The  company  consisted  of  several 
recruits  from  England. 

Mr.  Thomas  Flynn,  from  the  respectable  provincial 
theatres  and  the  Haymarket,  was  engaged  as  principal 
tragedian.  Poor  Tom  died  a  few  years  since,  poor  as 
poverty.  His  career  was  a  remarkable  one,  and  his 
tomb-stone  should  bear  the  inscription,  "  He  was  his 
own  worst  enemy."  Tom  Walton,  from  the  Theatre 
Royal,  York,  England,  came  out  as  principal  singer. 
Mr.  Geo.  Andrews,  who  married  Miss  Woodward  from 
the  Liverpool  "boards,"  as  low  comedian,  Mr.  King 
from  Drury  Lane,  and  Miss  Rivers  as  leading  actors. 
Miss  Rock  came  out  as  a  star.  Mr.  and  Mrs.  Bernard, 
(formerly  Miss  Tilden,)  and  Mrs.  C.  Young,  were 
important  additions  from  other  theatres  in  the  country. 


254  RECORD    OF   THE    BOSTON    STAGE. 

The  remains  of  the  old  stock  corps  were  Messrs.  Kilner, 
Finn,  Clarke,  Charnock,  etc. ;  and  among  the  ladies, 
Mrs.  Finn,  Mrs.  Barnes,  Mrs.  Papanti,  Miss  Clarke, 
and  Miss  C.  McBride. 

With  such  a  corps  dramatique  now,  a  manager  could 
bid  defiance  to  all  rivalry.  But  these  attractions  were 
not  the  only  ones,  for  Mr.  and  Mrs.  Barnes  appeared, 
the  latter  appearing  as  Richard.  Miss  Rock,  an  actress 
of  uncommon  versatility  of  talents,  also  came  out,  and 
for  her  benefit,  performed  in  the  "  Bride  of  Lammer- 
moor."  Mr.  and  Mrs.  Duff —  always  great  favorites  —  ^ 
and  the  best  Calanthe,  pronounced  by  many  that  ever 
trod  the  Boston  "  boards,"  with  May  wood  —  excellent 
as  Sir  ArcJiy  in  the  "  Man  of  the  World "  —  were 
among  the  attractions.  Mr.  and  Mrs.  Blake  appeared. 
Hacket  made  his  first  appearance  in  Boston,  at  this 
theatre,  in  October,  and  appeared  in  the  "  Comedy  of 
Errors : "  —  Dromio  of  JEphesus,  Hacket ;  Dromio  of 
Syracuse,  Barnes.  Without  any  personal  resemblance 
to  Mr.  Barnes,  save  a  general  conformity  as  to  size, 
Mr.  Hacket  contrived  by  a  perfect  similarity  of  dress, 
and  a  wonderful  imitation  of  Barnes'  manner  of  speech 
and  tone  of  voice,  to  render  it  sometimes  doubtful 
whether  Barnes  —  and  not  Hacket  —  was  speaking. 
The  town  ran  to  see  this  performance,  and  filled  the 
house  nightly.  Hacket,  at  that  time,  introduced  imita 
tions  of  Kean,  Cooke,  and  others,  which  were  very 
good. 

Mr.  Forrest  also  performed  two  engagements ;  the 
first,  supported  by  Miss  Rock,  Mrs.  Duff,  Flynn,  etc.  ; 
and  the  second,  by  Miss  Placide.  At  the  close  of  his 
first  engagement,  he  had  retired  to  his  hotel,  when  the 


KECORD    OP    THE    BOSTON    STAGE.  255 

audience  called  for  him.    He  was  sent  for,  and  returned, 
delivering  a  very  neat  speech. 

The  19th  of  November,  1827,  witnessed  the  first  ap 
pearance,  in  this  city,  of  Miss  Clara  Fisher,  who 
opened  in  Albino,  Mandeville,  in  the  "  Will "  —  a  part 
Miss  Rock  had  performed  in  to  the  delight  of  all.  She 
appeared  also  in  Goldfinch  —  one  of  Mathews' favorite 
characters,  and  her  success  was  complete.  A  Phila 
delphia  newspaper,  on  the  occasion  of  Mrs.  Maeder's 
appearance  in  that  city,  recently  remarked :  —  "  It  is 
now  twenty-four  years  since  Clara  Fisher,  then  a  girl 
of  seventeen,  trod  these  boards  in  the  gay  day  of  youth, 
triumphing  by  her  hilarity  of  manner,  and  her  brisk, 
lively  style.  Who  that  remembers  her  four  Mowlrays 
will  not  resuscitate  agreeable  reminiscences  of  her  ver 
satility  and  comic  ability  ?  How  arch  she  was !  how 
ingenious  in  her  transformations !  what  taste  she  dis 
played  in  costume,  and  what  a  successful  buoyancy  of 
spirits  she  possessed,  which,  infectious  in  its  good 
humor,  caused  her  audiences  to  yield  without  resistance 
to  the  cheerful  epidemic !  Her  singing  was  dashing, 
almost  impudent  in  its  style,  but  so  bravely  executed 
that  admiration  was  the  only  emotion  which  it  pro 
duced.  Her  White  Sergeant  was  a  bravura  which  was 
then  sung  as  it  has  seldom  been  sung  since.  There 
was  a  glorious  military  abandon  in  her  voice,  a  martial 
and  bold  carriage  of  her  person,  which  was  irresistibly 
delightful.  Never  was  a  song  better  acted  than  the 
piece  in  question,  and  its  popularity  was  therefore  un 
bounded.  Even  in  male  characters  Clara  Fisher  was 
excellent.  Her  Crack,  in  the  '  Turnpike  Gate,'  was  a 
clever  and  amusing  piece  of  acting,  which  was  oddly 


256  RECORD    OF    THE    BOSTON    STAGE. 

illustrated  by  her  gaiety  of  manner  and  general  skill. 
Beautiful,  vivacious,  and  precociously  talented,  she 
created  a  furore  in  this  city  which  has  rarely  been 
equalled  since." 

Mr.  Horn  and  Mrs.  Knight  gave  the  citizens  the 
lyric  drama.  "  Guy  Mannering  "  and  "  Der  Freischutz  " 
were  brought  out.  Mrs.  Sloman,  mother  to  Jane  Slo- 
man,  the  harpist,  who  is  now  in  Charleston,  S.  C.,  made 
her  first  appearance  as  Isabella,  on  the  7th  of  January, 
1828,  and  gained  great  fame  as  Mrs.  Holler  and  Bel- 
videra.  Cooper,  after  his  unsuccessful  trip  to  London, 
performed  in  March,  and  on  the  28th  acted  Othello  to 
Forrest's  lago,  and  after  Forrest's  departure,  played  to 
good  houses.  A  protege  of  Cooper's,  Miss  Hamilton, 
also  appeared,  and  Monsieur  Achille,  and  a  troupe  of 
French  dancers,  served  to  fill  up  the  intervals  between 
the  comedy  and  farces. 

With  such  attractions  as  these,  one  would  suppose 
that  full  houses  would  have  been  the  result,  no  matter 
what  the  attractions  were  elsewhere  ;  but  such  was  not 
invariably  the  case.  Messrs.  Finn  and  Kilner  confined 
themselves  exclusively  to  the  stage  management,  a  com 
mittee  of  the  proprietors  superintending  the  financial 
affairs,  and  the  season  closed  in  June. 

The  Tremont  Theatre,  though  not  finished,  was  an 
nounced  to  open  on  the  24th  of  September,  1827.  The 
roof  was  on,  but  the  granite  facade  was  not  completed. 
Great  impatience  was  manifested  among  the  play -going 
public  to  see  the  interior,  and  those  privileged  persons, 
"  the  members  of  the  press,"  gave  almost  daily  bulletins 
of  the  progress  made.  The  Saturday  previous  to  Mon 
day,  the  opening  night,  the  tickets  were  offered  for  sale, 


RECORD    OF    THE    BOSTON    STAGE.  257 

and  such  was  the  rush,  that  in  less  than  twenty  minutes 
every  seat  in  the  pit  and  first  and  second  row  of  boxes 
was  disposed  of.  The  bill  of  entertainment  was  as 
follows  :  — 

TREMONT  THEATRE. 

The   Public   is   respectfully  informed,  that   the    Trem&nt    Theatre 

will  open 

ON  MONDAY  EVENING,  SEPTEMBER  24. 
Q^*  The  Orchestra  will  embrace  the  most  distinguished  musical 
talent  hi  the  country  —  Leader,    .        .        .       MR.  OSTLNELLI. 


There  will  be  presented  Mrs.  Inchbald's  Comedy,  called 
Wives  as  they  Were,  and  Maids  as  they  Are. 

Lord  Priory, Mr.  Herbert, 

(of  the  New  York  and  Philadelphia  theatres,  —  first  appearance  in 

Boston). 
Sir  William  Dorillon,        ....        Mr.  Webb, 

(of  the  Philadelphia  Theatre,  —  first  appearance  in  Boston). 
Sir  George  Evelyn,          ....         Mr.  Reed. 

Mr.  Bronzly, Mr.  Blake, 

(First  appearance  for  two  seasons). 

Mr.  Norberry, Mr.  Forbes. 

Oliver, Mr.  J.  Mills  Brown. 

Miss  Dorillon, Mrs.  Blake, 

(of  the  New  York  Theatre). 
Lady  Mary  Raffle,        ....  Mrs.  Young, 

(of  the  New  York  Theatre). 
Lady  Priory, Mrs.  Pelby. 

Previous  to  the  Comedy,  the  Prize  Address  will  be  delivered  by 
MR.  BLAKE. 

The  Entertainment  to  conclude  with  the  Farce  of  the 
Lady  and  the  Devil. 

Wildlove, Mr.  Reed, 

Jeremy, Mr.  J.  Mills  Brown, 

Signor  Rafael, Mr.  Hart, 

17 


258  KECORD    OF    THE    BOSTON    STAGE. 

€laudian,     .  .        .       -.     ;•  v'       ._       .  Mr.  Field, 

Landlord,  ......  Mr.  Martin, 

Zephyrina,  ......•»           Mrs.  Young, 

Negombo,  .        .  •      .        .        .        .               Mrs.  Brewster. 

In  addition  to  the  above,  Messrs.  Hyatt,  W.  Isherwood,  Brewster 
Kelly,  Collingbourne,  and  Smith,  and  Mrs.  and  Miss  Riddle,  Mrs. 
Smith,  and  Mrs.  Forbes,  and  Mr.  Keene,  the  Vocalist,  are  engaged 
for  the  season.  Many  ladies  and  gentlemen  of  distinguished  talents, 
are  engaged  for  limited  periods. 


Boxes,  $1;  Third  Tier,  75  cts.;  Pit,  50  cts.;  Centre  Gallery, 
for  people  of  color,  50  cts.  ;  Side  Gallery,  25  cts. 

Days  of  Performance,  Monday,  Tuesday,  Wednesday,  Thursday, 
and  Friday. 

0^="  Doors  open  at  half-past  5  ;  Performance  to  commence  at 
half-past  6. 

The  prize  address  delivered  on  this  occasion  has  been 
the  subject  of  considerable  remark,  both  at  that  time 
and  since.  When  Mr.  Pelby's  intention  of  offering  a 
prize  was  first  announced,  many  who  had  before  com 
peted  with  Mr.  Sprague,  for  other  prizes,  announced 
their  intention  of  withdrawing  from  any  farther  contest, 
alleging,  with  great  injustice,  that  it  was  the  name,  and 
not  the  poem,  which  had  gained  him  his  last  honor  ;  an 
assertion  which  subsequently  proved  to  be  false,  for  the 
next  three  prizes  gained  by  Mr.  Sprague  —  one  in 
Philadelphia,  one  in  Salem,  and  one  in  Portsmouth  — 
were  anonymously  obtained,  and  only  acknowledged  by 
the  author  in  later  years.  But  shortly  the  names  of 
the  gentlemen  composing  the  committee  on  the  prize 
was  announced,  and  Mr.  Sprague  was  one,  assisted  by 
Franklin  Dexter,  Nathan  Hale,  Ebenezer  Bailey,  and 
John  Ware,  Esqrs.  Mr.  Sprague,  by  accepting  a 
judgeship,  signified  his  intention  of  allowing  a  clear 
field  to  others.  A  number  of  pieces  were  handed  in, 


RECORD    OF    THE    BOSTON    STAGE.  259 

but  none  of  them  evincing  any  decided  superiority  as 
poetical  compositions,  and  after  repeated  consultations 
the  committee  came  to  the  conclusion  that  they  would 
report  to  Mr.  Pelby,  that  not  one  of  the  poems  was 
worthy  of  the  prize.  Upon  farther  consideration,  how 
ever,  this  report  did  not  appear  to  be  in  accordance 
with  the  offer  made,  which  was  for  the  best  poem  ;  and 
however  inferior  it  might  be,  still  they  were  to  single 
out  one  as  better  than  the  others.  Aceardingly  they 
designated  the  poem  by  "  Theron  "  as  the  least  excep 
tionable,  and  the  sealed  paper  accompanying  the  poem 
contained  the  name  of  "  J.  Jamieson,  Hartford,  Ct." 

"  Who  is  J.  Jamieson  ? "  was  the  question  asked. 
Hartford  was  searched  through  and  through  ;  the  post 
master,  the  ministers,  and  even  the  sexton,  were  con 
sulted  as  to  the  individual,  but  no  "  J.  Jamieson  "  was 
there  to  be  found.  The  disappointed  applicants  for  the 
prize  then  called  upon  the  committee,  through  the  pub 
lic  prints,  to  produce  the  man,  and  with  a  malevolence 
sometimes  characteristic  of  disappointed  second-rate 
geninuses,  charged  the  committee  with  corruption,  and 
accused  several  members  with  having  awarded  the 
prize  to  one  of  their  own  number.  Mr.  Sprague  was 
singled  out  and  pursued  with  great  bitterness  ;  and  we 
cannot  but  think  this  unkind  treatment  may  have  been 
the  cause  of  the  allusion  in  Curiosity  to  "tenth-rate 
type-men." 

"  That  reptile  race,  with  all  that 's  good  at  strife, 
Who  trail  their  slime  through  every  walk  of  life  ; 
Stain  the  white  tablet  where  a  great  man's  name 
Stands  proudly  chisell' d  by  the  hand  of  Fame; 
Nor  round  the  sacred  fire-side  fear  to  crawl, 
But  drop  their  venom  there,  and  poison  all." 


260  RECORD    OF    THE    BOSTON    STAGE. 

Some  at  that  time  discovered  the  style  of  this  poet, 
who  they  pretended  was  ashamed  to  acknowledge  the 
authorship.  Others  thought  that  it  might  have  ema 
nated  from  the  study  of  a  clergyman  ;  but  this  was 
pronounced  impossible,  as  no  man  in  holy  office  would 
sanction  the  expression,  which  occurred  in  the  poem:  — 

"  Let  pulpits  fulminate,  let  presses  groan, 
Their  woes  and  warnings  —  and  what  need  they  more 
To  cause  the  curse  they  piously  deplore!  " 

The  topic  as  to  the  identity  of  the  author  was  long 
kept  up,  and  at  this  day  it  is  a  matter  of  very  little 
consequence  who  he  is  or  may  have  been.  The  prize- 
money  was  paid  to  Mr.  Buckingham,  editor  of  the 
Galaxy,  who  has  stated  that  Rev.  John  Pierpont  was 
the  gentleman  who  bespoke  his  agency  in  regard  to  the 
prologue,  and  that  the  prize-money  wras  paid  to  him. 
Mr.  Buckingham  could  not  state  that  Mr.  Pierpont  was 
the  author,  and  that  gentleman  "  never  either  admitted 
or  denied  the  accusation."  At  that  time  "  J.  Jamieson, 
of  Hartford,  Ct,"  was  the  great  Unknown. 

The  orchestra  at  the  Tremont  was  very  good.  Mr. 
and  Mrs.  Barnes,  after  playing  at  the  Boston,  appeared 
at  the  Tremont,  and  Mr.  and  Mrs.  Blake,  owing  to 
some  trouble  at  the  Tremont,  went  to  the  old  house. 
The  leading  stars  the  first  season  were  Mr.  Holland,  an 
excellent  comic  actor,  Mr.*  and  Mrs.  Hilson,  (formerly 
Miss  Johnson,)  Mr.  Adams,  the  tragedian,  Mr.  Horn 

*  At  Louisville,  Ky.,  of  apoplexy,  on  the  23d  of  July,  1834,  Mr. 
Thomas  Hilson,  long  known  in  various  parts  of  the  United  States  as 
one  of  the  best  comedians  of  the  day.  He  was  apparently  in  perfect 
health  till  within  fifteen  minutes  of  his  death. 


RECORD    OF    THE    BOSTON    STAGE.  261 

and  Mrs.  Knight,  Miss  Rock,  after  her  appearance  at 
the  old  house,  Mr.  Cooper,  after  his  appearance  at  the 
Federal  Street,  Miss  Kelly,  Mr.  and  Mrs.  "Wallack,  etc. 
Mrs.  Mestayer  made  her  first  appearance  January  7, 
1828,  as  Mrs.  Baalamb  in  "  Gambler's  Fate."  Mr. 
Pelby  also  engaged  the  French  dancers,  Mons.  Bar- 
berre,  Madame  Hutin,  and  Md'lle.  Celeste,  at  $300  per 
night,  which  brought  the  expenses  up  to  $600  per  night, 
and  the  scenic  play  of  "  Undine"  was  got  up  at  a  great 
expense,  but  proved  a  failure.  A  play  called  "  Char 
lotte  Temple,"  written  by  George  Ward  Glascott,  was 
also  produced,  and  "  Timour  the  Tartar,"  with  horse 
accompaniment,  produced  Jan.  21,  '28.  Up  to  the  ex 
piration  of  the  15th  or  20th  week,  the  season  had 
proved  profitable  ;  and  though  the  expenses  were  large, 
they  had  been  promptly  met.  The  season,  however, 
closed  on  the  20th  of  May,  leaving  the  manager  deeply 
involved,  and  the  proprietors  without  a  dividend.  The 
competition  between  the  two  houses  had  been  carried 
on  with  unprecedented  warmth.  Pelby  was  accused 
of  seducing  stars  from  the  Federal  Street  to  the  Tre- 
mont,  and  Finn  was  charged  with  equally  grave  mis 
demeanors.  In  the  case  of  Miss  George,  she  was  an 
nounced  to  appear  at  both  houses  the  same  evening,  and 
the  charges  of  bribery  and  corruption  were  set  afloat, 
and  statements  and  counter-statements  appeared  in  the 
papers.  The  old  house,  however,  carried  the  day  as 
regards  the  excellence  of  the  stock  company  and  stars, 
and  the  Tremont  had  superior  advantages  so  far  as  a 
new  house  and  a  better  location  was  concerned  ;  but 
neither  came  out  of  this  first  struggle  with  any  decided 
advantage  to  themselves. 


262  RECORD    OF    THE    BOSTON    STAGE. 


CHAPTER  XVIII. 

Change  of  Management  at  the  Tremont  Theatre. — J.  B.  Booth  as 
Acting-Manager.  —  The  Company  and  Salaries.  —  Debut  of  John 
Gibbs  Gilbert.  —  Forrest's  First  Appearance  at  the  Tremont.  —  Der 
Freischutz.  —  Hyatt.  —  Madam  Feron.  —  Tom  Comer's  First 
Benefit.  — W.  H.  Smith's  First  Benefit.  —  Faults  of  the  Theatre.— 
The  Opera  at  the  Old  Theatre. —  Commencement  of  the  Regular 
Season.  —  Caldwell.  —  Finn's  Unique  Cards.  —  Debut  of  Mrs. 
Cramer,  etc.,  etc. 

MR.  Pelby  became  so  embarrassed,  that  the  directors 
of  the  corporation  deemed  it  advisable  to  make  some 
change.  Mr.  Pelby  had  also  gained  the  enmity  of  the 
press,  and  members  of  his  own  company  were  not 
inclined  to  continue  under  his  management.  The  idea, 
too,  had  exploded,  that  Boston  had  grown  large  enough 
to  suport  two  first-class  theatres.  Mr.  Pelby  had  hired 
the  theatre  for  a  term  of  ten  years,  agreeing  to  pay  a  rent 
of  eight  per  cent,  upon  its  cost,  and,  at  the  end  of  the 
third  quarter  of  the  first  year,  he  was  induced  —  as  he 
thought,  by  unfair  means  —  to  sell  out  to  an  association 
of  gentlemen,  comprising  F.  W.  Dana,  Mitchell,  John 
Rayner,  B.  C.  Clark,  H.  H.  Huggeford,  Thomas  Niles, 
John  Fuller,  Esq.,  and  others.  Mr.  Francis  W.  Dana 
was  at  the  head  of  this  project,  and  the  agreement  on 
the  part  of  the  corporation  was,  that  they  might  sur 
render  the  house  at  the  end  of  the  first  year.  They 
paid  for  the  year  the  full  rent  of  $9,000,  and  prepared 
to  give  the  old  house  another  trial.  The  company  was 
strengthened,  and  J.  B.  Booth  was  engaged  as  acting- 
manager  for  the  first  two  months,  at  a  salary  of 


RECORD    OF    THE    BOSTON    STAGE.  263 

per  week,  and  $100  a  night  for  ten  performances.    The 
bill  for  the  opening  night,  was  as  follows :  — 

TREMONT   THEATRE. 

03^  MR.  BOOTH  has  the  honor  to  acquaint  the  public,  that  the 
gentlemen  composing  the  Committee  of  Arrangements  for  this 
theatre,  have  selected  him  to  manage  and  direct  the  business  of 
the  stage.  Mr.  Booth  is  aware  of  the  important  and  laborious 
task  he  has  undertaken,  but  hopes  that  the  desire  felt  by  him  and 
his  constituents  to  reclaim  the  drama  from  approaching  degene 
racy,  and  a  steady  perseverence  to  deserve  success  by  making  the 
theatre  a  place  of  rational  and  improving  amusement,  will  insure 
and  receive  the  approbation  of  all. 

On  Monday  Evening,  September  1,  1828, 
Will  be  performed,  the  Comedy  of 

SPEED   THE  PLOUGH. 
Sir  Philip  Blandford,        ....         Mr.  Webb. 

Worrington, Mr.  Collingbourne, 

From  the  Bowery  Theatre,  New  York. 

Sir  Abel  Handy, Mr.  Jones, 

From  the  Park  Theatre,  New  York. 

Bob  Handy, Mr.  Thayer, 

From  the  Lafayette  Theatre,  New  York. 

Henry, Mr.  Field. 

Farmer  Ashfield, Mr.  Hallam, 

From  the  Philadelphia  theatres. 

Gerald, Mr.  Jervis, 

From  the  Park  Theatre,  New  York. 

Evergreen, Mr.  Laws. 

Postilion, Mr.  Blaike. 

Peter, Mr.  Scott. 

Valet, Mr.  J.  S.  Jones. 

Miss  Blandford.      .....  Miss  Hamilton,. 

Her  first  appearance  at  this  theatre. 

Lady  Handy, Mrs.  Lacombe, 

From  the  New  York  theatres. 
Susan  Ashfield,      .....  Mrs.  Roper, 

From  the  Philadelphia  theatres. 

Dame  Ashfield,          ....  Mrs.  Jones, 

From  the  Bowery  Theatre,  New  York. 


264  RECORD    OF    THE    BOSTON    STAGE. 

Previous  to  the  Comedy, 

AN  ADDRESS, 

Written  by  a  Lady  of  this  city,  expressly  for  the  occasion,  will  be 
spoken  by  Mr.  Archer. 

A  New  Act  Drop,  presenting  a  View  of  the  Academic  Grove,  painted 
by  Mr.  Coyle,  will  be  exhibited. 

The  evening's  entertainment  to  conclude  with 

THE   KEVIEW. 
Looney  McTwolter,   ......        Mr.  Comer, 

From  the  Theatre  Royal,  Covent  Garden. 
John  Lump,  ........    Mr.  Simpson, 

From  the  Chatham  Theatre,  New  York. 
Grace  Gaylove,      ......  Mrs.  Roper. 


The  Box  Office  will  be  opened  from  10  till  2  o'clock,  (Satur 
days  from  10  to  12). 

Boxes,  $1;  Third  Tier  of  Boxes,  75  cents;  Pit,  50  cents;  Gallery, 
25  cts. 

The  doors  will  be  open  at  6  o'clock.  Performance  to  commence 
at  7  o'clock. 

The  address  was  the  production  of  Mrs.  Catherine 
A.  Ware,  a  poetess  of  no  ordinary  ability. 

Mr.  Booth  was  assisted  by  Alexander  Wilson,  at  a 
salary  of  $50  per  week,  as  a  kind  of  out-door  mana 
ger,  —  Mr.  Dana  superintending  the  whole.  The  com 
pany  was  increased,  and  the  following  are  the  names 
of  the  leading  actors  who  appeared  during  the  season, 
with  a  few  of  the  sums  paid  per  week  for  their  ser 
vices  :  — 

Thomas  Comer,  Musical  Director,  $40.  Luigi 
Ostinelli,  Leader  of  the  Orchestra,  $40.  Mrs.  Duff, 
$50.  Mrs.  Pelby  and  daughter,  Mrs.  George  Barrett, 
Mrs.  Papanti,  Miss  Riddle,  Mrs.  William  Jones  and 
husband,  at  an  average  of  $50.  Thomas  Archer,  $40. 
W.  H.  Smith,  $30.  Thayer,  $28.  Hyatt,  $50.  Lopez, 


RECORD    OF    THE    BOSTON    STAGE.  265 

as  Prompter,  (edjtor  of  Weymiss'  and  Lopez's  Edition 
of  Plays).  Young  Silas  Field,  Walker,  C.  Lehr,  and 
R.  Jones  were  in  the  paint-room,  with  Sam.  Stockwell, 
as  assistant.  The  Orchestra  numbered  twenty-eight 
musicians,  averaging  from  $11  to  $14  per  Tveek ;  and 
there  was  also  a  strong  corps  of  chorus-singers,  William 
B.  Oliver,  Leader.  J.  F.  Barker,  John  Candy,  David 
Whiting,  George  Birch,  Phineas  .Glover,  John  Hall, 
Anselm  Lothrop,  at  $10  per  week.  Under  such  sys 
tematic  extravagance  the  season  commenced. 

During  Booth's  management  Miss  Rock,  Miss  Pla- 
cide,  Hamblin,  Miss  Louisa  Lane,  an  infant  prodigy, 
who  afterwards  played  Uhcamunca,  to  Major  Stevens' 
Tom  Thumb,  in  the  "  Extravaganza."  Booth  took 
leave,  in  order  to  fulfil  his  engagement  at  the  South, 
in  the  character  Orestes,  a  part  done  by  him  in  French, 
when  in  New  Orleans,  to  the  admiration  of  many,  who 
had  seen  the  same  impersonation  by  the  great  Talma. 
Mrs.  Duff  appeared  with  undiminished  power  this  sea 
son.  Joe  Cowell  succeeded  Booth  as  manager ;  the 
latter,  on  his  retirement,  receiving  from  the  lessees  a 
beautiful  cup  and  plate,  valued  at  $100,  as  a  mark  of 
their  appreciation  of  his  services  while  manager.  The 
theatre,  during  Booth's  management,  had  done  well. 
The  Federal  Street,  shortly  after  its  opening,  reduced 
its  prices  of  admission,  which  was  considered  as  a 
triumph  of  the  new  theatre  over  the  old.  After  this,  a 
rapid  succession  of  stars  appeared,  two  or  more  often 
at  the  same  time.  Wai  lack,  on  the  3d  of  November, 
appeared,  and  on  the  7th,  Miss  Clara  Fisher  com 
menced  her  first  engagement  at  the  Tremont,  and  a 
great  one  it  was.  On  the  occasion  of  Wallack's  benefit, 


266  RECORD    OF    THE    BOSTON    STAGE. 

"  Much  Ado  About  Nothing"  was  t  brought  out:  — 
Benedict,  Wallack ;  Beatrice,  Miss  Clara  Fisher. 
Cooper  followed  immediately  after,  supported  by  Mrs. 
Duff. 

On  the  28th  of  November,  1828,  John  Gibbs  Gilbert, 
a  resident  of  North  End,  made  his  debut  in  the  charac 
ter  of  Ja/ffier, —  Mr.  Wilson  as  Pierre,  Mrs.  Duff  as 
JBelvidera.  The  attempt  was  crowned  with  the  greatest 
success.  There  was  the  awkward  gait  of  the  novice, 
and  some  crudities  of  expression,  but  his  readings  were 
correct,  evincing  a  discriminating  mind,  and  an  origi 
nality  which  pleased  the  most  critical,  and  gave  the 
promise,  which  has  been  fully  realized,  of  his  becom 
ing  one  of  the  most  sterling  actors  of  the  day.  His 
second  appearance  was  as  Sir  Edward  Mortimer,  in 
which  he  made  a  hit. 

Forrest's  first  appearance  at  the  Tremont,  was 
made  in  the  character  of  Hamlet,  on  the  15th  of 
November,  1828: — Ghost,  Wilson  ;  Horatio,  W.  H. 
Smith ;  Queen,  Mrs.  Pelby ;  Ophelia,  Mrs.  Co  well. 
During  this  engagement,  in  which  Forrest  evinced 
marked  improvement  in  style  over  his  earliest  efforts  in 
Boston,  Shiel's  play  of  "  Evadne"  was  brought  out  — 
Ludovico,  Forrest ;  Colinna,  Wilson ;  Vincento,  John 
G.  Gilbert. 

Thomas  Comer,  in  the  month  of  January,  brought 
out  "  Der  Freischutz,"  in  an  admirable  manner.  The 
"  Barber  of  Seville  "  was  also  produced  under  the  same 
direction  during  Mrs.  Austin's  engagement,  the  chief 
parts  filled  by  Comer,  Horn,  Miss  George,  and  Mrs. 
Papanti. 

Hyatt  was  the   life  of    the  company,  and  adopted 


RECORD    OF    THE    BOSTON    STAGE.  267 

many  ingenious  methods  to  draw  a  house,  whenever 
his  name  was  up  for  a  benefit.  On  one  occasion,  he 
announced  that  twenty -five  lottery  tickets  —  wholes  and 
halves  —  would  be  distributed  from  a  balloon,  in  which 
Md'lle  Scratchini  Pasiamo  would  ascend.  On  another 
night,  the  following  announcement  was  made  :  — 

£100   NOTE. 

Billy  Slack,    (1st  Act,)  .        .        .        .Mr.  Hyatt. 

Bitty  Black,    (2d    "     )      .        .        .        .        •    Mr.  Cowell. 

Miss  Arlington, Miss  Kiddle. 

With  the  Song  — "Buy  a  Broom." 

CCP"5'  A  dispute  having  arisen  among  the  ladies,  whether  Mr. 
Cowell  or  Mr.  Hyatt  is  the  greater  beauty  —  and,  as  some  have 
declared  Mr.  Cowell  to  be  the  handsomest  boy,  and  others  '•'•voice, 
wersa" — Mr.  Hyatt  thinks  it  an  incumbent  duty  to  set  this  im 
portant  dispute  at  rest;  therefore,  he  will  gratify  the  feelings  of  the 
ladies,  by  appearing  with  Mr.  Cowell,  (in  the  course  of  the  farce,) 
and  sing  the  comic  duett  of  THE  RIVAL  BEAUTIES. 

The  joke  of  the  above  consists  in  the  fact  that  neither 
of  the  gentlemen  had  any  great  claims  to  be  considered 
an  Apollo.  Hyatt,  at  times,  was  a  ready  wit.  In  the 
farce  of  the  "  Rendezvous,"  the  females  were  ordered 
to  go  to  bed,  by  the  old  man,  and  they  went  out  at  the 
side  door.  One  of  them  tried  to  slide  back  unper- 
ceived,  but  stumbled  over  the  base  of  the  column,  and 
fell  down,  after  which  she  vanished.  "  Go  along  to 
bed  all  of  you,"  says  the  old  man.  "  Yes,  it's  time 
for  'em  to  go  to  bed,"  says  Hyatt,  "  for  they're  tumbling 
over  their  pillars  already."  The  joke  was  cracked  so 
instantly,  that  rounds  of  applause  rewarded  the  ready 
wit.  Hyatt  enlisted  in  the  United  States  Navy  as  a 
Marine,  in  1832. 


268       RECORD  OF  THE  BOSTON  STAGE. 

Madame  Celeste  also  appeared  and  brought  out  the 
"  Caliph  of  Bagdad." 

The  ballet  was  followed  by  the  appearance  of  Madam 
Feron,  who  appeared  in  the  "  Barber  of  Seville," 
"  Beggar's  Opera,"  etc.  She  was  born  of  French 
parents  in  London  in  1797,  and  while  yet  a  child,  was 
brought  forward  at  Vauxhall  to  execute  music  of  a 
description  similar  to  that  then  singing  by  Catalini  at 
the  Opera,  and  the  wags  of  the  day  christened  her  the 
" little  Gat"  while  her  prototype  received  the  elegant 
appellation  of  the  great  one.  Madame  Feron,  subse 
quently  visited  Italy,  where  she  pursued  her  studies, 
and  afterwards  achieved  victories  in  all  the  principal 
European  cities.  Madame  Feron  belonged  to  the  genus 
of  astonishing  vocalists.  Her  love  of  ornament  was 
strong  and  sometimes  ran  away  with  her,  but  her  cadenza 
were  original  and  effective.  As  an  actress,  she  was 
fascinating ;  and  in  private  life,  an  elegant  woman. 

Miss  Rock  made  a  second  engagement  prior  to  her 
departure  for  Europe.  Wallack  1-eappeared,  and  put 
upon  the  stage  "  Rienzi." 

The  only  scenic  piece  of  any  note  this  season  was  the 
"  Enchanted  Castle,  or  Knights  of  Old,"  in  which  Mr. 
W.  H.  Smith  sustained  the  part  of  Aldibert,  and  pro 
bably  first  became  initiated  into  the  mysteries  of  that 
department  of  the  profession,  which  he  has  so  success 
fully  improved  upon,  as  shown  in  the  style  and  magni 
ficence  of  the  Museum  spectacles. 

On  the  6th  of  April,  1829,  Thomas  Comer,  more 
familiarly  known  as  "  Honest  Tom  Comer,"  announced 
his  first  benefit  in  Boston.  Many  a  time  since  then 
has  that  old  familiar  name  been  posted  as  the  beneficiary 


RECORD    OF    THE    BOSTON    STAGE.  269 

of  the  evening.  That  it  has  not  always  attracted  a 
crowded  house,  may  be  possible,  but  certainly  it  always 
deserved  one,  and  so  far  as  our  own  recollection 
extends  has  received  it.  Mr.  Comer  brought  out 
Shakspeare's  "  Tempest,"  the  part  of  Ariel  by  Miss 
Rock. 

Mr.  "W.  H.  Smith's  first  benefit  was  on  the  13th  of 
April,  a  week  following  that  of  Mr.  Comer's,  both  of 
whom,  after  nearly  a  quarter  of  a  century,  still  hold 
prominent  positions  before  the  Boston  public.  Lest 
our  readers  might  infer,  by  our  allusion  to  fragments  of 
centuries,  that  these  gentlemen  were  very,  very  old,  we 
will  state  that  then  they  were  very,  very  young  ;  and 
occular  demonstration  can  be  had  any  evening  that  the 
hand  of  time  has  touched  them  lightly,  and  leaves  them 
in  the  enjoyment  of  every  faculty  requisite  to  their 
laborious  profession.  On  the  night  of  Mr.  Smith's  first 
benefit,  the  entertainments  consisted  of  "A  Woman 
never  Vexed,  or  The  Rich  Widow  of  Cornhill."  King 
Henry  VI.,  Mr.  Gilbert ;  Robert  Foster,  Mr.  Field ; 
Clown,  Hyatt ;  Agnes,  Mrs.  Smith ;  and  the  play  of 
the  "  Wandering  Boys."  Paul,  W.  II.  Smith. 

Towards  the  close  of  the  season,  "  London  and  Paris" 
was  brought  out,  and  Mrs.  George  Barrett,  then  in  the 
heyday  of  her  beauty,  possessing  the  same  versatility  of 
powers  still  evinced  by  this  excellent  actress,  appeared, 
and  Booth  and  Mrs.  Duff  performed  an  engagement ; 
the  house  closing  with  M.  M.  Noah's  play  of  "  Marion 
and  His  Men,"  etc.,  on  the  Fourth  of  July. 

That  the  season  in  point  of  attraction  was  brilliant, 
must  be  admitted ;  but  the  house  was  too  small,  or 
rather  the  dress  circle  would  not  contain  those  who 


270       RECORD  OF  THE  BOSTON  STAGE. 

would  not  take  seats  in  the  second  tier ;  and  as  Mr. 
Barry  and  others  afterwards  found  out,  the  expenses 
of  any  great  attraction  exceeded  the  receipts  \vhen  the 
house  was  crammed,  more  especially  after  a  reduction 
of  prices  took  place.  As  has  been  seen,  star  succeeded 
star,  with  a  rapidity  since  unknown,  and  the  stock  was 
kept  up  in  every  rank.  The  result  was  a  loss  of  about 
twenty-seven  thousand  dollars  to  the  committee  of  gen 
tlemen.  We  will  now  take  a  look  at  the  progress  made 
at  the  old  house. 

On  the  2 5 tli  of  August,  Mr.  Davis,  the  manager  of 
the  French  Theatre,  N.  O.,  opened  the  Boston  Theatre, 
for  a  short  season,  with  his  opera  company,  it  being  too 
early  to  risk  a  southern  climate  with  his  recent  trans 
atlantic  importation.  "La  Dame  Blanche,"  and  a 
vaudeville  entitled  "  Werther,"  were  brought  out. 

The  regular  season,  and  the  last  at  this  house  for 
many  years,  commenced  on  the  22d  of  September,  with 
the  "  Heir  at  Law."  Dr.  Pangloss,  Finn  ;  Steadfast, 
Young  ;  Homespun,  Andrews  ;  Dorothy  Douglass,  Mrs. 
Barnes  ;  Caroline  Dormer,  Mrs.  Finn  ;  Cicily  Home 
spun,  Mrs.  Young  ;  and  Lord  Dubberly,  Mr.  Faulkner, 
his  first  appearance  in  Boston.  The  leading  attraction 
was  the  Grand  Corps  of  Parisian  Dancers,  who  drew 
well.  The  only  star  of  any  note  was  Mr.  Caldwell, 
manager  of  the  New  Orleans  Theatre,  who  afforded  a 
rich  treat  to  those  who  fancied  chaste  acting.  He 
afterwards  appeared  at  the  Tremont,  the  same  season. 
Mr.  A.  Adams,  the  tragedian,  appeared  as  William  Tell, 
and  in  other  parts,  and  the  "  Forty  Thieves "  was 
revived. 

The  attractions  at  the  new  house  were  so  strong  that 


RECORD    OF    THE    BOSTON    STAGE.  271 

the  Federal  Street  Theatre  was  almost  deserted,  not 
withstanding  the  free  tickets  so  lavishly  circulated  by 
the  latter.  The  press  also  was  loud  in  its  complaints 
of  the  way  things  were  conducted  at  the  old  house,  and 
the  stockholders  were  somewhat  fatigued  with  carrying 
on  the  warfare.  Mr.  Finn  took  two  benefits  this  season. 
On  the  13th  of  December,  '28,  "One  Hundred  and 
Two,  or  The  Veteran  and  his  Prodigy,"  and  "  Thirty 
Years  of  the  Life  of  a  Gambler,"  were  brought  out, 
and  a  good  house  was  attracted,  mainly  through  the 
unique  invitations  published  by  Finn  in  the  papers. 
Here  is  one  :  — 

MORE   DISCLOSURES. 

FINN'S   LETTERS   TO   THE   PUBLIC. 

Dear  Public,  pray  permit  H  J 
Finn,  to  address  a  D  T 
To  U,  and  make  a  slight  S  A, 
To  influence  the  C  T. 

And  N  E  faults  you  must  X  Qs, 
Nor  B  my  N  ME; 
If  not  instruct,  I  will  M  Us, 
With  all  my  N  R  G. 

The  grateful  warmth  which  I  0  U, 

X-ceeds  T  P  D  T ; 

I  cannot,  tho'  I  have  my  Q, 

X  press  my  X  T  C. 

From  0  N's  town  to  U  T  K, 
From  Mystic  to  P  I), 
There 's  not  a  biped  popin-J 
That  I  would  now  N  V. 

On  Monday  night,  my  Public  D  R, 
We  shall  XL,  UC; 
To  every  call,  I  will  give  E  R, 
And  answer,  "  Here  I  B." 


272  RECORD    OF    THE    BOSTON    STAGE. 

Need  I  say  Y,  'twould  give  me  Es, 
A  full  house  should  I  C ; 
But  0 !  for  P  T,  do  not  Ts, 
And  make  that  house  M  T. 

In  the  month  of  April,  Mr.  Finn,  on  the  occasion  of 
his  second  benefit,  when  "  Peter  Finn,  or  A  Trip  to  see 
the  Sea,"  and  "  Massachusetts  Railroads,"  two  pieces 
from  the  pen  of  the  beneficiary,  were  produced,  again 
addressed  the  public  as  follows  :  — 

FINN'S  BENEFIT  AND  HIS  PACK  OF  CARDS. 

Ji  Keep  a  commanding  card  to  bring  in  your  strong  suit  when  the  trumps 
are  out.'''  —  Hoyle. 


Since  Benefit  cards  are  becoming  the  fashion, 

And  they  now  run  in  couples,  like  hounds  on  the  track.  — 

In  pursuit  of  a  similar  game,  I  shall  dash  on, 
Hoping  all  jolly  dogs  will  encourage  my  PACK. 

That  life  is  a  game,  needs  not  much  illustration ; 

Many  play  for  a  robe  —  many  more  for  a  rag. 
To  play  a  good  game 's  the  most  safe  speculation ; 

He  who  is  the  best  man  has  the  most  reason  to  brag. 

Old  Industry's  spade  has  turrid  up  for  our  yeomen, 
And  turned  out  from  our  land  some  of  Valor's  best  shrubs; 

Our  mechanics,  too,  yield  in  their  courage  to  no  men, 
Who,  our  foes  have  found  out,  have  a  strong  hand  with  clubs. 

Little  Cupid's  a  knave,  who  plays  tricks  with  his  darts  — 
And  the  eyes  of  those  ladies,  who '  ve  no  wish  to  shun  love, 

Are  the  diamonds  which  win  to  the  altar  all  hearts ; 
And  the  odds  are,  we  finish  the  game  with  but  "  < 

Tho'  I  often  make  game  by  a  card  with  a/ace, 

Yet  judiciously  cutting  —  a  joke  is  of  use. 
As  you  deal  with  apun-ter  if  you  bate  an  ace 

Of  your  favor,  with  me  you  '11  be  playing  the  deuce. 


RECORD  OF  THE  BOSTON  STAGE.       273 

Not  in  Icings  or  in  queens,  but  republican  men, 

That  they  '11  all  come  in  numbers,  my  chief  confidence  is, 

Three,  four,  five,  and  six,  seven,  eight,  nine,  or  ten, 
And  I  '11  take  to  myself  all  the  worst  con-sequences. 

You  shall  have  —  and  my  promise  I  will  not  revoke, 
On  that  night  —  as  good  playing  as  Boston  affords  ; 

For  my  partners  will  not  need  much  forcing  to  joke,  — 
But,  at  all  events,  here  you've  a  play,  upon  words. 

My  suit  is  to  win  from  my  friends  all  the  honors 
A  player  expects  from  their  hands  when  addressing 

Those  regular  trumps,  who  have  been  my  best  donors, 
Who  will  pardon  my  many  attempts  a 


Miss  Cramer  made  her  debut  at  the  theatre  this 
season  in  the  part  of  Letitia  Hardy,  (May  22,  '29,)  and 
on  the  occasion  of  Mr.  Walton's  benefit,  his  wife  ap 
peared,  for  the  first  time  on  any  stage,  in  a  dramatic 
version  of  Scott's  Antiquary. 

The  after  season  of  the  Federal  Street  Theatre, 
though  the  rent  was  relinquished  by  the  proprietors  to 
Mr.  Young,  the  acting  manager,  proved  a  losing  con 
cern  ;  and,  not  having  paid  the  performers,  except  a 
very  few,  they  deserted  the  sinking  ship,  one  by  one, 
till  at  last  they  were  able  to  make  up  a  very  scanty 
bill.  The  theatre  closed  on  the  night  of  Artillery 
Election,  when  Burk's  play  of  "Bunker  Hill"  was 
performed. 

18 


274  RECORD    OF    THE    BOSTON    STAGE. 


CHAPTER   XIX. 

Contest  between  the  Two  Theatres.  —  The  Old  House  Closed.  —  The 
Opera.  —  The  Company.  —  Booth's  Appearance.  —  His  Strange 
Conduct,  and  Walk  to  Providence.  —  "  Metamora."  —  The  Produc 
tion  of  English  Dramas.  —  Richard  Russell.  —  Charles  Kean. — 
Master  Burke.  — Amphitheatre  in  Flagg  Alley.  —  Ball  of  the  Ca 
dets  at  the  Old  Theatre.  —  Another  of  Finn's  Cards,  etc.,  etc. 

THE  contest  between  the  two  theatres  had  been 
carried  on  two  years  with  unabated  vigor,  and,  as  we 
have  stated,  with  a  great  loss  to  the  Tremont.  Mr. 
Dana  and  his  friends  concluded  to  give  up  the  manage 
ment,  but  it  was  agreed  by  the  stockholders  that  they 
might  hold  it  for  another  year,  paying  only  the  current 
expenses  of  the  corporation  with  the  interest  on  their 
mortgage  debt.  The  rent  on  this  second  year  amounted 
ed  to  only  about  $1,500,  making  an  average  for  two 
years  of  something  over  $5,000  per  annum.  Negotia 
tions  were  then  entered  into  by  the  proprietors  of  the 
two  houses,  which  resulted  in  the  management  of  the 
Tremont  leasing  the  old  theatre,  which  they  kept  closed 
when  the  former  was  open,  at  a  considerable  expense. 

After  the  regular  season  at  the  old  house  had  closed, 
it  was  opened  one  night  in  August,  for  the  benefit  of 
George  Andrews,  when  he  was  assisted  by  several  of 
the  leading  actors  from  the  new  house. 

On  the  2d  of  September,  the  Italian  Opera  Com 
pany  commenced  a  short  season  at  the  old  house,  and 
brought  out  "  Tancredi,"  "Barber  of  Seville,"  etc. 


KECORD    OP    THE    BOSTON    STAGE.  275 

This  company  was  composed  of  Madame  Feron,  (who 
died  in  the  month  of  May,  1853,  in  London,)  Madame 
Brochta,  Signor  Rosich,  Signor  Angrisani,  etc.  Osti- 
nelli  led  the  orchestra,  and  Comer  was  musical-director. 
This  was  the  first  regular  attempt  to  present  the  lyric 
drama,  with  all  the  proper  accompaniments,  which 
proved  successful.  The  same  company,  with  the  ex 
ception  of  Ostinelli,  had  been  performing  selections 
from  different  Italian  operas  at  the  Park  Theatre,  N. 
Y.,  with  great  success,  which  induced  them  to  pay  Bos 
ton  a  visit.  Mr.  Comer  had  left  them  and  gone  to 
Newport,  when,  to  his  surprise,  Mr.  J.  Phalen,  on  the 
part  of  F.  TV.  Dana,  Esq.,  the  manager,  called  on  him 
and  stated  that  the  troupe  would  visit  Boston,  and  that 
his  services  were  required  as  musical  director  in  the 
orchestra.  He  at  once  hastened  to  Boston,  engaged 
his  voices,  and  announced  a  rehearsal  for  the  next  day. 
The  weather  was  intensely  warm,  and  before  proceed 
ing  to  business,  it  was  voted  that  shirt-sleeves  were 
en  regie,  Mr.  Comer  commenced  the  drilling  by  giv 
ing  the  words  of  an  opening  chorus,  "  Pare  onare,  etc." 
Mr.  W.  B.  Oliver,  Captain  Sam.  Adams,  and  others, 
were  quick  at  learning  the  music,  but  when  it  came  to 
giving  the  words,  the  perspiration  started  from  every 
pore.  The  book  of  "  Italian  in  six  easy  lessons  "  had 
not  then  been  compiled ;  but  Mr.  Comer  found  them 
apt  scholars,  and  they  found  him  an  efficient  teacher, 
and  by  hard  work  and  perseverance  the  choristers  were 
Italianized,  and  executed  their  part  so  well  as  that  they 
received  the  compliments  of  Madame  Feron,  and  troupe. 
The  most  fashionable  houses  were  in  attendance,  and 
the  boxes  presented  a  magnificent  array  of  Boston 


276  RECORD    OF    THE    BOSTON    STAGE. 

belles,  many  of  whom  are  the  stately  matrons  of  the 
present  day. 

The  union  of  the  rival  theatres,  and  the  concentra 
tion  upcm  one  establishment  of  the  interest  hitherto 
divided  between  two,  promised  a  most  successful  sea 
son  for  the  Tremont.  The  interior  of  that  house  was 
greatly  improved,  and  the  company  increased.  Mr. 
Jones,  of  the  New  York  theatres,  had  the  direction  of 
the  scenic  department.  Mr.  Comer  had  the  manage 
ment  of  the  vocal  department.  Mr.  Ostinelli  con 
ducted  the  orchestra,  composed  of  Messrs.  Granger, 
Peele,  Eberle,  Kendall,  Hanna,  Pierce,  Warren, 
Schott,  Geer,  and  others.  Mr.  Finn  and  Mr.  Andrews, 
from  the  Federal  Street,  and  Mr.  Jones,  from  the 
English  Opera  House,  with  Mr.  G.  Jones,  were  en 
gaged,  and  among  the  company  of  the  previous  season 
retained,  were  Messrs.  Wilson,  Smith,  Thayer,  Hyatt, 
Comer,  Jones,  Collingbourne,  Scott,  Blaike,  J.  S.  Jones, 
Leman,  Clements,  Whiting,  etc.,  etc. ;  Mrs.  W.  H. 
Smith,  Mrs.  Papanti,  Mrs.  Jones,  Mrs.  Campbell, 
Misses  Eberle,  McBride,  etc.  Mr.  Wilson  was  the 
ostensible  manager,  and  Mr.  W.  H.  Smith,  stage  mana 
ger.  The  season  commenced  on  the  14th  of  Septem 
ber  with  "  Speed  the  Plough,"  the  JRomaiker,  by 
Mad'lles  Celeste  and  Constance,  and  "Touch  and 
Take." 

On  the  16th  of  November  Booth  was  engaged,  and 
made  his  appearance.  He  performed  for  one  or  two 
nights  with  fine  effect,  when  he  was  taken  ill  and 
obliged  to  keep  his  room.  He  recruited,  however,  and 
re-appeared  as  Richard,  and  on  Monday,  December  7, 
was  announced  to  perform  Ludovico  in  "Evadne," 


BECORD    OF    THE    BOSTON    STAGE.  277 

supported  by  Mr.  Pelby  as  Colonna,  and  Mrs.  Duff  as 
Evadne.  The  after-piece,  of  "  Amateurs  and  Actors," 
was  to  give  occasion  for  Mr.  Booth  to  play  in  a  comic 
character.  The  house  was  crowded;  not  a  nook  or 
corner  of  the  dress  circle  was  unoccupied,  and  great 
numbers  were  refused  admittance. 

Mr.  Booth's  first  entrance  on  the  stage  denoted 
something  unusual.  He  was  careless  and  hesitating  in 
his  delivery,  and  his  countenance  had  none  of  its 
customary  expression.  He  would  falter  in  his  dis 
course,  jumble  scraps  of  other  plays  into  his  dialogue, 
run  to  the  prompter's  side  of  the  stage  and  lean  against 
a  side  scene,  while  the  prompter  endeavored  to  help 
him  forward  in  the  play,  by  speaking  out  his  part  of 
the  dialogue  loud  enough  to  be  heard  in  the  galleries. 
In  this  manner,  he  made  a  shift  to  get  through  the  first 
two  acts  of  the  tragedy.  Those  familiar  with  the  thea 
tre  saw  very  plainly  that  something  was  rotten  in  the 
State  of  Denmark ;  but  a  great  proportion  of  the  very 
crowded  audience  present,  not  knowing  much-  of  his 
manner  of  acting,  did  not  comprehend  the  business,  but 
only  looked  on,  stared,  gaped,  and  wondered,  and 
protested  that  for  an  actor  of  so  much  celebrity,  Mr. 
Booth  played  in  a  very  spiritless  and  bungling  fashion. 

This  bizarrerie  soon  came  to  a  close.  In  the  early 
part  of  the  third  act,  while  engaged  in  parlance  with 
the  king  of  Naples,  the  audience  were  surprised  by  his 
suddenly  breaking  off  from  the  measured,  heroical 
dignity  of  his  stage  tone,  and  with  a  comical  simper, 
falling  at  once  into  a  colloquial  gossiping  sort  of  chatter 
with  his  majesty,  thus  —  "  Upon  my  word,  sir,  I  don't 
knoiv  sir"  etc.  The  audience  were  thrown  into  as 


278  RECORD    OF    THE    BOSTON    STAGE. 

much  astonishment  as  the  king  of  the  two  Sicilies  at 
Signer  Ludovico's  sudden  and  anti-poetioftl  jdowncome 
from  his  buskined  height  of  declamation.  For  a 
moment  all  was  silence;  when  Mr.  Booth,  turning 
round  and  facing  the  spectators,  began  to  address  them 
in  this  manner  :  —  "  Ladies  and  gentlemen  ;  I  really 
don 't  know  this  part.  I  studied  it  only  once  before,  muck 
against  my  inclination.  I  will  read  the  part,  and  the 
play  shall  go  on.  By  your  leave  the  play  shall  go  on, 
and  Mr.  Wilson  shall  read  the  part  for  me."  Here  an 
overpowering  burst  of  hissing  and  exclamations  arose 
from  all  parts  of  the  house,  while  Mr.  Booth  continued 
to  face  the  audience  with  a  grinning  look,  which  at 
length  broke  out  into  an  open  laugh.  Mr.  Smith  then 
rushed  from  behind  the  scenes  upon  the  stage,  and  led 
him  off,  Mr.  Booth  exclaiming,  "  I  can 'tread, —  I  am 
a  charity  boy  ;  —  I  can't  read.  Take  me  to  the  Lunatic 
Hospital ! "  Here  the  drop  curtain  fell  amid  the 
murmurs  and  hisses  of  the  house. 

Presently  appeared  Mr.  Smith  from  the  stage  door, 
and  spoke  in  the  following  tenor :  "  Ladies  and  gentle 
men,  —  it  is  obvious  to  you  all,  that  Mr.  Booth  cannot 
appear  again  this  evening,  and  that  the  play,  therefore, 
cannot  proceed.  It  is  also  well  known  that  Mr.  Booth 
has,  for  some  time,  been  subject  to  partial  insanity.  It 
appears  evident  that  he  is  not  now  what  he  has  been. 
His  reason  has  left  him.  With  your  indulgence  we 
shall  immediately  proceed  to  consider  what  is  to  be 
done  in  this  emergency."  This  temporary  explanation 
appeared  to  satisfy  the  house,  and  Mr.  Smith  retired 
without  any  signs  of  disapprobation  being  manifested. 
After  some  minutes,  he  came  forward  again.  "  Ladies 


RECORD    OF    THE   BOSTON    STAGE.  279 

and  gentlemen,  —  it  is  hoped  that  you  will  consider  the 
circumstances  which  have  caused  the  unlooked-for  dis 
appointment  of  this  evening.  Mr.  Booth  had  been  ill 
on  Sat  rday,  but  was  to  all  appearance  quite  recovered. 
He  would  not  have  been  announced  to  play  this  even 
ing,  had  we  not  been  assured  by  his  physician  that  he 
had  recovered  his  powers  and  was  fully  competent  to 
fulfil  his  duties  in  the  performance.  As  the  pieces 
announced  in  the  bills  cannot  be  performed,  it  has  been 
determined  to  make  this  substitution  —  the  Interlude 
of  "  Is  he  Jealous  ? "  will  first  be  presented,  after 
which,  the  comedy  of  "  The  Poor  Gentleman." 

Mr.  Smith  was  retiring  after  this  speech,  when  a 
loud  hissing  was  set  up,  and  voices  began  to  call  out, 
«  Booth,  Booth.  <  The  Bride  of  Alydos^  '  The  Mas 
ter's  Rival" '  etc.  Upon  this,  he  appealed  again  to  the 
politeness  and  good  nature  of  the  house  to  overlook 
their  disappointment,  lamenting  that  circumstances  had 
obliged  the  managers  to  ask  often  for  their  forbearance. 
Some  little  disposition  was  shown  to  be  riotous  in  the 
galleries,  but  the  boxes  were  perfectly  quiet,  and  there 
was  but  little  commotion  in  the  pit.  The  curtain  rose, 
and  there  entered  upon  the  stage  Messrs.  I.  Jones, 
Comer,  Scott,  and  Candy.  They  sung  in  a  very 
spirited  manner  the  glee  of  "  Old  King  Cole,"  which 
had  the  effect  of  putting  the  refractory  spirits  into 
something  like  good  humor.  The  singers  were  listened 
to  in  quiet,  and  encored. 

There  were,  then,  repeated  calls  made  for  Mr.  Finn, 
when  Mr.  Smith,  came  forward  a  third  time.  He 
stated  that  Mr.  Finn  would  appear  in  five  minutes,  and 
went  on  to  make  some  explanations  of  what  he  had 


280  RECORD    OF    THE    BOSTON    STAGE. 

said  in  a  previous  address  on  the  subject  of  the  cause 
of  Mr.  Booth's  catastrophe.  Having  been  informed 
that  it  was  understood  he  had  ascribed  the  cause  of 
Booth's  indisposition  to  liquor,  he  now  declared  that  no 
such  insinuation  was  intended,  and  that,  on  the  contrary, 
Mr.  Booth's  attendants,  who  had  been  with  him  through 
the  day,  averred  that  he  had  drank  nothing  of  the 
spirituous  kind  in  that  time." 

Mr.  Booth  was  immediately  carried  to  his  lodgings, 
and  his  disorder  having  increased,  it  was  on  Wednesday 
deemed  advisable  to  obtain  a  consultation  as  to  the 
propriety  of  placing  him  in  the  Lunatic  Asylum,  but 
on  repairing  to  his  room,  the  patient  was  non  est. 
Search  was  made  fdr  him,  and  the  only  information 
that  could  be  obtained  was  his  application  for  a  seat  in 
the  Providence  stage,  at  the  Marlboro'  Hotel ;  but  the 
stage  having  previously  departed,  he  went  off,  and 
whither  no  one  knew ;  and  it  was  not  till  the  arrival 
of  a  stage  from  Providence,  that  intelligence  was  con 
veyed  by  the  driver,  that  on  Wednesday  he  met  Mr. 
Booth  between  Dedham  arid  Walpole  on  foot,  bearing 
towards  Providence,  without  his  outside  garments,  and 
without  any  extra  clothing  whatever.  He  reached 
Providence  on  Thursday,  and,  it  was  supposed,  slept 
in  the  woods  on  Wednesday  night.  Kind  friends  at 
once  took  him  in  charge,  and  after  a  temporary  retire 
ment,  he  again  appeared  in  this  city. 

Mrs.  Austin  appeared  this  season,  and  Forrest  and 
Booth  performed  in  "  Venice  Preserved,"  "  Othello," 
etc.  On  the  loth  of  February,  183Q,  Mr.  Forrest  pro 
duced  his  prize  tragedy  of  "  Metamora,"  written  by  Dr. 
J.  A.  Stone,  for  the  first  time,  supported  by  Scott,  Jones. 


RECORD    OF   THE    BOSTON    STAGE.  281 

Wilson,  Mrs.  Duff,  and  Mrs.  Barrett;  the  original 
prologue  was  delivered  by  Mr.  Thayer,  the  original 
epilogue  by  Mrs.  Barrett.  It  proved  in  the  highest 
degree  attractive  to  the  public,  and  crowds  rushed  to 
see  this  energetic  impersonation  of  Mr.  Forrest's.  The 
mention  of  this  piece  reminds  us  of  an  anecdota  of 
recent  date.  Mr.  Forrest  had  performed  the  piece  at 
the  National  Theatre,  in  this  city,  for  five  successive 
nights,  to  crowded  houses.  A  gentleman  remarked  to 
Mr.  Forrest,  that  he  should  feel  flattered  at  this  mark 
of  approbation.  "  Mr.  Stone,  if  he  were  alive,"  replied 
Mr.  Forrest,  "  would  undoubtedly  feel  proud."  "  But," 
continued  the  gentleman,  "  if  other  than  a  Forrest 
played  it,  the  author  might  not  have  cause  for  self-con 
gratulation."  The  tragedian  was  inclined  to  give'  all 
the  credit  to  the  author  ;  but  his  friend  placed  it  where 
it  belonged,  and  rightly  attributed  the  success  of  a  very 
peculiar  play  to  the  eminent  talent  of  the  actor. 

An  original  comedy,  called  "  School  for  Courtship,!' 
was  produced  in  February,  in  which  Mr.  Jones,  the 
excellent  scenic  artist,  produced  a  view  of  the  Tremont 
House  and  Theatre,  with  Park  Street  Church  in  the 
distance,  which  was  very  fine.  "  Massaniello,"  which 
had  been  in  rehearsal  during  the  season,  was  brought 
out  on  the  5th  of  April  with  fine  effect,  and  had  a  good 
run.  Hacket  also  appeared. 

This  season  was  celebrated  for  the  admirable  manner 
in  which  the  sterling  old  English  comedies  were  acted 
by  Finn,  W.  II.  Smith,  Kilner,  (who  joined  the  com 
pany  with  George  Barrett,  in  January,  and  in  passion 
ate  and  hearty  old  men  never  has  been  equalled  this 
side  of  the  water).  Andrews,  Comer,  Thayer,  Hyatt^ 


282  RECORD    OF    THE    BOSTON    STAGE. 

Mrs.  Duff,  Mrs.  Barrett,  Mrs.  Pelby,  Mrs.  Papanti, 
Mrs.  Barnes,  etc.,  Mr.  Placide,  also  appeared  this 
season.  The  expenses  were  kept  within  bounds,  and 
the  result  was  a  clear  profit  of  18  or  $20,000.  The 
theatre  closed  on  the  4th  of  July,  and  on  the  7th  Din- 
neford  leased  the  Federal  Street,  and  opened  it  as  a 
summer  house.  J.  M.  Scott,  Stone,  Thayer,  Miss 
McBride,  Mrs.  La  Forest,  were  members  of  the  com 
pany.  El  Hyder  and  other  show  pieces  were  brought 
out. 

The  season  of  1830-1  commenced  on  the  6th  of  Sep 
tember.  Richard  Russell,  formerly  with  Caldwell  in 
New  Orleans,  was  the  manager ;  George  H.  Barrett, 
stage-manager ;  Mr.  R.  Jones,  artist ;  Mr.  J.  Johnson, 
machinist.  The  company  consisted  of  Messrs.  Barrett, 
Finn,  Andrews,  Smith,  Stone,  Jones,  Holden,  Pearson, 
Johnson,  Howard,  Collingbourne,  Scott,  Adams,  Le- 
nian,  Stone,  Russell,  Master  Russell,  etc.,  etc.,  Mrs. 
Barrett,  Mrs.  Stone,  Miss  Eberle,  Miss  McBride,  Mrs. 
Russell,  Mrs.  Smith,  Mrs.  Barnes,  Mrs.  Campbell,  Miss 
Holden,  and  Miss  Russell. 

The  opening  performances  were  the  "  Soldier's 
Daughter,"  which  introduced  Mrs.  Russell  to  a  Boston 
audience  as  Widow  Cheerfy,  Mr.  Barrett  reciting  an 
opening  address  written  by  J.  A  Stone,  Esq.,  of  the 
theatre  ;  and  "  Luke  the  Laborer  "  was  performed. 

Mr.  Russell's  intentions  were  good,  and  he  intended 
to  give  the  public  attractive  performances,  but  he  did 
not  meet  with  the  support  at  first  which  he  merited. 
To  his  credit  be  it  recorded,  he  did  accomplish  a  great 
•deal  towards  the  suppression  of  vice  in  and  about  the 
-theatre.  As  an  actor,  he  possessed  considerable  original 


RECORD    OF    THE    BOSTON    STAGE.  283 

and  intrinsic  merit,  and  his  Cosey  and  Sir  Peter  were 
pronounced  the  best  since  Bernard. 

The  stars  this  season  were  Mrs.  Sharpe,  Miss  George, 
Mad'lles  Ravenot  and  Durissel,  after  an  absence  of  two 
years : 

" mincing  Ravenot  sports  tight  pantalettes, 

And  turns  fop's  head  while  turning  pirouettes." 

Hacket,  who  brought  out  "  Rip  Van  Winkle,"  Forrest, 
Clara  Fisher,  Charles  Kean,  Madame  Feron,  Miss 
Kelly,  Master  Burke,  Booth,  Cooper,  and  Barton. 

On  the  17th  of  September,  '30,  was  commemorated 
the  great  event  of  the  first  foundation  of  Boston,  com 
menced  by  Gov.  WINTHROP  two  hundred  years  ago.  It 
was  a  great  holiday,  in  which  all  took  part,  the  highest 
and  the  lowest.  Speeches,  songs,  and  feasts,  were  the 
order  of  the  day.  Dinners  were  given  by  different 
societies  at  the  hotels.  At  the  theatre,  a  prize  address, 
written  for  the  second  centennial  settlement  of  Boston, 
by  Mrs.  Sarah  Josepha  Hale,  was  spoken  by  Mrs. 
Russell,  the  manager's  lady. 

Charles  Kean  appeared  for  the  first  time  as  Gloster, 
in  "  Richard  III.,"  on  the  22d  of  November.  He  was 
at  that  time  only  twenty  years  of  age.  When  he  made 
his  entrance  on  the  stage,  he  was  received  with  shouts 
of  welcome  ;  and,  as  if  the  people  present  were  deter 
mined  not  to  visit  the  sins  of  the  father  upon  the  child, 
they  continued  their  applauses  into  three  or  four  addi 
tional  rounds,  when  the  first  had  subsided.  He  appear 
ed  during  this  engagement  as  Sir  Giles  Overreach, 
Hamlet,  Shylock,  Sir  Edward  Mortimer,  and  Reuben 
Glenroy. 


284  RECORD    OF    THE    BOSTON    STAGE. 

The  celebrated  Master  Burke,  announced  as  the 
"Irish  Roscius,"  opened  on  Monday,  January  31,  as 
Young  Norval,  leading  the  orchestra  between  the  plays. 
His  engagement  extended  into  March,  and  he  appeared 
in  the  following  characters  :  Dr.  Pangloss,  (to  Mrs.  W. 
H.  Smith's  Cicely  Homespun?)  Whirligig  Hall,  Shylock, 
March  of  Intellect,  Sir  Abel  Hardy,  Richard  III.,  Terry 
O'RourJce,  Dennis  Bidgruddy,  Hamlet,  (to  Mrs.  Bar 
rett's  Ophelia?)  Dr.  Ollopod,  and  Romeo,  —  a  variety 
which  indicates  the  versatility  of  his  talents.  His 
reception  was  immense.  No  other  word  can  convey,  to 
those  who  do  not  recollect  the  cordiality  with  which  he 
was  welcomed,  any  thing  like  an  adequate  idea.  Balls 
and  parties,  sleigh  rides  and  social  gatherings,  were 
dispensed  with,  the  theatre  was  the  centre  of  the 
fashionable  and  literary  world  of  Boston,  and  the  boxes 
were  filled  to  their  utmost  capacity.  A  portion  of  the 
box  tickets  .were  sold  at  auction  by  Messrs.  Coolidge  & 
Haskell,  and  the  second  row  was  equally  sought  after 
with  the  first.  The  sum  of  $1344  was  paid  in  premiums 
for  the  boxes  for  seven  nights  ;  and  the  amount  of  the 
advanced  rates  for  nineteen  nights  was  $2174.50,  ex 
clusive  of  the  whole  receipts,  which  did  not  fall  far 
short  of  $20,000. 

After  Burke's  engagement,  the  theatre  was  closed  for 
nearly  a  month,  Russell  and  a  portion  of  the  company 
visiting  Salem  and  Providence  with  the  great  prodigy. 

During  the  temporary  close  of  the  theatre,  an  amphi 
theatre  in  Flagg  Alley,  now  Change  Avenue,  was 
opened  for  dramatic  and  equestrian  performances,  and 
was  well  patronized.  It  was  in  the  rear  of  the  Bite 
Tavern.  Messrs/Vialle,  Pallis,  Williams,  Miss  Clarke, 


RECORD    OF    THE    BOSTON    STAGE.  285 

Burns,  Sands,  Con  way,  appeared  either  in  the  ring,  or 
on  the  stage.  "  Richard  III."  was  got  up,  and  Mr. 
and  Mrs.  Booth,  the  former  only  thirty-six  inches  in 
height  and  thirty-nine  years  of  age,  the  latter  thirty-two 
inches  and  twenty-five  years  of  age,  were  trotted  out  to 
be  admired  by  those  who  had  run  after  prodigies ;  and 
as  a  more  striking  offset  to  Burke,  "  Master  Baker " 
was  produced,  who  did  some  parts  with  considerable 
cleverness. 

It  was  this  year  that  a  grand  birth-night  ball,  on  the 
anniversary  of  Washington's  birth  day,  was  given  at 
the  old  theatre  by  the  Independent  Corps  of  Cadets,, 
Col.  Baker,  and  it  was  considered  (the  De  Joinville 
Ball  and  others  not  having  come  off)  the  most  magni 
ficent  affair  ever  given  in  Boston.  An  entirely  new 
flooring  was  laid  over  the  stage  and  pit,  and  by  parti 
tioning  off  a  portion,  a  salon  de  danse  was  formed  one 
hundred  feet  in  length,  square  at  one  extremity  and 
semicircular  at  the  other.  The  front  of  the  lower  boxes 
was  covered  with  green  drapery,  the  interior  was  lined 
with  evergreens,  and  the  rear  was  concealed  by  near 
two  thousand  stands  of  arms.  The  circular  part  was 
covered  with  an  ornamented  canopy  resembling  the 
cloth  of  a  tent,  from  the  centre  of  which  was  suspended 
an  immense  chandelier.  The  folds  of  the  canopy 
wholly  concealed  the  second  range  of  boxes  and  all  the 
house  above  it.  The  side  scenes  of  the  stage  were 
removed  as  far  back  as  possible,  so  as  to  admit  the 
construction  of  an  extensive  oblong  marquee  richly 
decorated  with  sofas,  pier  tables,  etc.,  and  brilliantly 
illuminated.  The  theatrical  effect  of  the  house  was 
thus  entirely  dissipated,  and  the  whole  of  the  visible 


286  RECORD    OF    THE    BOSTON    STAGE. 

interior  was  metamorphosed  into  frwo  large  marquees 
or  pavillions  opening  into  each  other,  which  being  sur 
rounded  with  evergreen  shrubbery  mingled  with  stands 
of  arms,  produced  the  resemblance  of  an  encampment 
prepared  for  a  gala  day,  or  such  as  the  Soldan  Saladin 
is  represented  to  have  made  in  honor  of  Richard,  at  the 
Diamond  of  the  Desert.  The  floor  of  the  saloon  was 
tastefully  painted  by  the  bold  and  free  pencil  of  Mr. 
Hubbard.  The  arms  of  the  corps,  its  institution  in 
1741,  the  date  of  its  organization,  and  its  mottoes,  were 
displayed  with  suitable  blazonry  in  the  marquee  ;  and 
the  national  arms,  the  eagle  surrounded  by  a  circle  of 
stars,  was  also  blazoned  under  and  around  the  central 
point  of  the  pavillion.  The  general  effect  of  the  whole 
design,  when  the  ball  room  became  filled  with  beautiful 
and  fashionable  women  and  well-dressed  men,  was 
indescribably  charming. 

The  Evening  Gazette  gave  the  following  account :  — 
"  The  company  was  estimated  to  consist  of  about  six 
hundred  individuals,  of  which  perhaps  the  ladies  were 
about  three  hundred  and  fifty.  They  were  variously, 
elegantly,  but  most  tastefully  arrayed ;  and  it  was  a 
theme  of  general  remark  that  individual  taste  appeared 
to  have  been  much  consulted  in  the  selection  of  their 
dresses  and  the  display  of  their  ornaments,  rather  than 
an  appeal  to  a  particular  fashion,  which,  by  creating  an 
uniformity  of  appearance,  has  a  mean  effect  in  a  dance. 

"The  Governor,  whom  the  Cadets  are  attached  as 
a  body  guard,  was  received  with  military  music  and 
conducted  to  a  distinguished  station  at  the  farther 
extremity  of  the  room ;  various  other  public  characters 
were  present. 


RECORD    OF    THE    BOSTON    STAGE.  287 

"  About  half-past  ten  o'clock  supper  was  announced ; 
and  part  of  the  company  were  escorted  to  the  saloon  of 
the  theatre,  which  is  an  elegant  room,  superbly  deco 
rated  for  the  occasion  with  flowers,  flags,  and  military 
emblems.  Plates  were  laid  for  two  hundred  and  twenty 
persons,  and  not  more  than  that  number  could  be  ac 
commodated  at  once ;  therefore  the  tables  were  re 
plenished  at  different  times  in  the  course  of  the  night. 
The  viands  were  excellent,  the  confectionary  display 
was  rich  and  luxurious,  and  the  wines  were  of  such 
exquisite  flavor  as  to  gratify  the  most  fastidious  epicu- 
rian  taste.  The  supper  was  furnished  by  Mr.  Galla 
gher,  keeper  of  the  Exchange  Coffee  House,  and  was 
very  creditable  to  his  abilities  as  a  caterer. 

"  Throughout  the  evening  the  managers  were  every 
where  sedulous,  attentive,  and  courteous  to  all  their 
guests ;  and  the  members  of  the  corps  constantly  dis 
tinguished  for  their  uniform  urbanity  and  politeness. 
The  dancing  room  in  the  early  part  of  the  evening  was 
much  crowded,  but  as  the  departure  of  many  of  the 
elder  guests,  at  an  early  hour,  gave  the  dancing  room  to 
the  juvenile  portion  of  the  company,  their  enjoyment 
appeared  to  rise  into  hilarity  and  delight. 

"  The  repetition  of  suppers  was  continued  through 
the  whole  night,  as  well  as  the  dancing ;  and  though 
the  bulk  of  the  company  had  departed  by  midnight, 
we  believe  the  choice  spirits  remained,  if  not  until  the 
clock  had  given  salutation  to  the  morn,  yet  until  the 
index  of  the  watch  admonished  them  that  such  a  period 
would  soon  approach.  We  have  seldom  witnessed  a 
scene  of  greater  novelty,  elegance,  festivity,  and  social 


288  RECORD    OF    THE    BOSTON    STAGE. 

happiness  than  this  Cadet  Ball  afforded  on  Washing 
ton's  birthnight." 

The  above  description,  though  it  may  not,  strictly 
considered,  form  any  part  of  a  theatrical  record,  comes, 
within  our  province  as  relating  to  the  old  theatre  — 
the  history  of  which  we  intended  in  the  commencement 
to  give  from  the  day  it  first  opened  to  its  recent  demoli 
tion.  Other  balls  were  subsequently  held  at  the  thea 
tre,  more  or  less  brilliant. 

The  Tremont  re-opened  on  the  4th  of  April.  Mrs. 
Barrett  took  a  benefit,  and  that  favorite  and  oft  repeated 
petit  comedy  of  "  Perfection  "  was  played  for  the  first 
time.  "  Zembuca "  was  got  up,  but  did  not  prove 
attractive,  and  what  the  manager  made  by  Burke  was 
all  dissipated  ere  the  close  of  the  season.  The  different 
benefits  revived  in  a  degree  the  falling  fortunes  of  the 
house,  but  too  frequently  empty  benches  greeted  the 
sight  of  the  performers.  Even  Cooper,  who  appeared 
in  May,  and  preserved  his  physical  energies  and  per 
formed  with  unabated  vigor,  found  that  the  magic  spell 
•which  he  had  so  often  thrown  over  the  Boston  public, 
was  broken,  and  the  manager  hailed  the  closing  day 
(June  20)  with  pleasure.  He  left  the  city  a  wiser  and 
a  poorer  man.  Among  the  benefits  which  proved  most 
attractive  was  that  of  Mr.  Finn's.  His  unique  card 
on  this  occasion  was  as  follows :  — 

PUBLIC    ATTENTION 

Is  most  respectfully  solicited  to  Finn's  Panoramic  Pills,  sold  at  the 
Tremont  Theatre,  wholesale  and  retail. 

The  celebrated  Dr.  Halstead  has  left  the  public  a  thumping  legacy 
jn  his  book  on  dyspepsia,  but  Doctor  Logic  would  suggest  that  some- 


RECORD    OP    THE    BOSTON    STAGE.  289 

thing  more  is  kneaded  to  eradicate  lowness  of  spirits,  and  eight  years 
of  successful  practice  have  enabled  him  to  test  the  remedy,  and 
recommend  it  as  the  best  spring  medicine  to  free  the  system  from  ill 
humor  —  as  from  it,  he  has  frequently  experienced  great  benefits ;  and 
that  he  is  no  quack,  will  be  seen  from  the  moderate  length  of  his  bill. 
The  following  certificate  is  selected  from  many  millions  which  may 
be  inspected :  — 

"  The  subscriber  had  been  for  centuries  afflicted  with  a  total  ex 
tinguishment  of  suspended  animation,  till,  hearing  of  your  never-to- 
be-too-highly-thought-of-panoramic-pills,  I  was  induced  to  take  a 
box,  when  I  was  near  the  last  stage.  I  immediately  discovered  the 
seat  of  the  complaint,  and  the  pMz-icol  effects  were  apparent,  prima 
facie.  The  malady  received  a  check,  and  in  the  course  of  a  few  hours 
I  could  sit  up,  stand  upon  my  feet,  and  finally  walk  out  without  as 
sistance.  I  think  I  am  but  doing  justice  to  proclaim  the  many  heal 
ing  acts  you  have  performed ;  and  to  recommend  a  numerous  attend 
ance  on  Wednesday  evening,  when  I  understand  you  intend  adminis 
tering  a  powerful  dose  of  tincture  of  Myrrth,  to  be  taken  in  jam." 

THE  PUBLIC. 


CHAPTER    XX. 

The  Opening  of  the  Tremont.  —  Appearance  of  Mr.  Anderson.  —  The 
Anderson  Troubles  in  New  York  and  Boston.  — "The  Gladia 
tor."— Mr.  Sinclair.  — The  Opera.  —  Frederick  S.  Hill.  — Miss 
Mary  Duff.  — The  Social  Condition  of  Actors— The  Hermanns. — 
The  Ravel  Family.  —  Opening  of  the  Federal  Street. —First 
Performance  of  the  "  Hunchback."  —  Mrs.  Barrymore. —Benefit 
of  John  Howard  Payne.  — The  Kembles.  — Expiration  of  Mr. 
Dana's  Lease. 

THE  Tremont  was  opened  on  the  4th  of  July  this 
year,  when  Mr.  Holland  appeared.     Mr.  Russell,  hav- 
19 


290  RECORD    OF    THE    BOSTON    STAGE. 

ing  had  quite  enough  of  Boston,  left  it,  and  Mr.  George 
H.  Barrett  was  announced  as  the  manager. 

On  the  opening  night,  (August  29th,  1831,)  "  Wild 
Oats,"  and  the  "Highland  Reel"  were  produced  — 
"both  the  comedy  and  the  farce  were  by  O'Keefe. 
There  was  very  little  alteration  in  the  company  from 
the  preceding  year.  Mr.  Kilner  re-appeared.  Charles 
Kean,  Mr.  and  Mrs.  Hackett,  (formerly  Miss  Le 
Suggs,)  Mrs.  Hughes,  J.  Jones,  Clara  Fisher,  Mr.  and 
Mrs.  Anderson,  Forrest,  Mons.  Gouff,  the  Man  Mon 
key,  (who  appeared  at  the  old  house  one  night,  and 
then  went  to  the  Tremont,)  Burke,  J.  J.  Adams,  trage 
dian,  Pelby,  Sinclair,  F.  S.  Hill,  Miss  Mary  Duff,  Mrs. 
A.  Drake,  F.  Brown,  and  Mr.  E.  C.  Horn,  were  the 
most  attractive. 

The  prestige  of  Clara  Fisher's  name  departed  this 
season,  and  Kean  did  only  passably  well.  Burke  at 
tracted  good  houses,  but  he  was  not  run  after.  His 
brother,  Master  W.  Burke,  performed  a  solo  on  the 
violin  on  the  occasion  of  Burke's  benefit. 

Mr.  Anderson  and  his  lady,  (formerly  Miss  Barto- 
lozzi,)  were  announced  to  appear  in  "  Guy  Mannering  " 
on  the  3d  of  November :  —  Henry  Bertram,  Mr.  Ander 
son  ;  Julia  Mannering,  Mrs.  Anderson ;  Col.  Manner- 
ing,  W.  H.  Smith ,  Dominie  Sampson,  Mr.  Kilner ; 
Meg  Merrilies,  Mrs.  Hill. 

Mr.  Anderson  had  been  the  unfortunate  cause  of  a 
theatrical  row.  On  the  passage  to  this  country,  he  was 
indiscreet  enough  to  utter  certain  disrespectful  expres 
sions  in  relation  to  Americans,  the  immediate  conse 
quence  of  which  was  trouble  with  the  mate  and  passen 
gers,  and  we  believe  that  Jonathan  and  John  came  to 


RECORD    OF   THE   BOSTON    STAGE.  291 

blows,  which  resulted  in  the  defeat  of  the  latter.  On 
the  arrival  of  the  vessel  at  New  York,  the  mate  and  his 
friends  took  measures  to  form  a  party  to  prevent  Mr. 
Anderson  exercising  his  talents  on  the  stage.  Mr. 
Anderson,  who  was  not  without  repute  in  his  own 
country  as  a  singer,  had  been  engaged  by  Stephen 
Price  to  appear  at  the  Park  Theatre,  and  was  accord 
ingly  announced  in  "  Guy  Mannering,"  on  the  13th  of 
October.  Mr.  A.  was  received  on  his  entrance  with 
hisses,  shouts  of  "  off ! "  "  off !  "  etc.,  mingled  with 
tokens  of  applause,  which  rendered  it  difficult  to  say 
whether  the  preponderance  of  the  applause  was  for  or 
against  him.  Mr.  Thomas  Barry,  the  stage-manager, 
endeavored  to  propitiate  the  audience,  and  obtain  a 
hearing  for  the  actor,  but  it  was  refused.  After  fre 
quent  fruitless  attempts  to  obtain  a  truce,  the  play  pro 
ceeded,  mainly  in  dumb  show.  In  the  papers  of  the 
following  day  Mr.  Anderson  published  the  following : 

TO  THE  PUBLIC. 

Having  been  last  evening  denied  an  opportunity  of  addressing  you, 
I  am  compelled  to  make  an  appeal  through  the  public  prints ;  a  course 
I  should  have  long  since  pursued,  had  I  not  felt  unwilling,  as  a  perfect 
stranger,  to  obtrude  myself  upon  your  notice,  and  thinking  as  I  did 
that  a  personal  explanation  would  be  more  appropriate  and  respect 
ful.  I  am  accused  (as  I  have  been  informed)  of  speaking  disrespect 
ful  of  the  American  people.  This  I  utterly  disavow.  On  my  passage 
to  this  country,  I  was  unfortunate  enough  to  have  a  disagreement 
with  one  of  the  passengers ;  but  any  observation  that  may  have  fallen 
from  me  on  that  occasion  was  altogether  of  a  private  nature,  and 
alluded  solely  to  the  individual  with  whom  the  difficulty  existed. 
I  appeal  to  your  good  sense,  whether  it  is  likely,  nay,  whether  it  is 
not  absolutely  absurd,  that  I  should  have  had  the  insane  hardihood 
to  make  use  of  disrespectful  expressions  tending  to  prejudice  me  in 
the  opinion  of  a  public,  upon  whose  patronage  I  wras  entirely  depen 
dent,  and  whose  good  will  and  approbation  I  was  and  am  most 


292       RECORD  OF  THE  BOSTON  STAGE. 

anxious  to  receive  ?  May  I  then  trust,  that  on  the  next  occasion  I 
have  the  honor  of  appearing  before  you,  you  •will  not  allow  private 
consideration,  or  private  pique,  to  weigh  so  heavily  against  me  in  my 
public  capacity.  I  have  only  to  add,  that  when  under  excitement, 
we  are  all  liable  to  use  (tho'  I  am  not  aware  that  I  have)  expressions, 
which  in  more  deliberate  moments  we  have  occasion  to  deplore.  If  I 
have  done  any  thing  calculated  to  offend  that  pride  of  country  in 
which  I  myself  indulge  as  well  as  others,  I  deeply  regret  it ;  I  would 
ask  leave  to  make  that  apology  which  is  unquestionably  due  on  such 
an  occasion. 

J.  E.  ANDERSON. 

The  managers,  deeming  this  card  an  ample  apology, 
for  any  slight  remarks  which  a  foreigner  might  utter 
about  America,  announced  Mr.  Anderson  for  Saturday, 
the  15th  Oct.  The  theatre  was  filled  entirely  with 
males,  and  it  was  made  manifest  long  before  the  hour 
for  the  curtain  to  rise  that  there  were  two  parties 
present,  those  in  his  favor  and  those  opposed.  The 
first  act  passed  off  without  any  disturbance,  save  an  at 
tempt  made  to  hiss  Thomas  Barry,  which  was  promptly 
quelled  by  the  auditory,  Mr.  Barry  making  a  brief 
speech.  On  the  rising  of  the  curtain  at  the  second  act, 
Mr.  Simpson  came  forward,  with  a  paper  in  his  hand, 
which  the  audience  rightly  conjecturing  to  be  the 
apology  of  Mr.  Anderson,  that  we  give  above,  refused 
to  have  it  read.  Mr.  Simpson  expressed  the  willing 
ness  of  the  management  to  abide  by  the  decision  of  the 
public,  and  if  it  was  the  decided  wish  of  the  house  that 
Mr.  Anderson  should  be  withdrawn,  let  it  be  distinctly 
manifested,  and  he  pledged  himself  to  comply.  "  Let 
him  be  withdrawn  ! "  —  "  Send  him  home  ! "  —  "  Yes, 
yes  ! "  —  were  the  replies  which  thundered  from  all 
parts  of  the  house.  Mr.  Jones  was  immediately  substi 
tuted,  and  the  performances  went  on.  The  audience 


RECORD    OF    THE    BOSTON    STAGE.  293 

was  a  riotous  one,  but  no  attempt  was  made  to  injure 
property  ;  and  their  wickedness  was  confined  to  throw 
ing  apples  and  oranges  on  to  the  stage.  An  immense 
multitude  had, assembled  outside,  who  not  only  contrived 
to  fight  among  themselves,  but  committed  sundry  dis 
graceful  acts  upon  the  theatre,  by  breaking  the  windows 
and  lamps,  alleging  that  the  eagles  which  formerly 
adorned  the  latter  had  been  removed  by  Mr.  Price, 
who  was  hostile  to  American  sentiment.  This  cause 
also  led  to  the  assembling  of  a  crowd  on  the  Sunday 
evening  following,  which  broke  a  few  panes  of  glass ; 
but  the  removal  of  the  eagles  had  been  done  by  Mr. 
Simpson  when  the  front  of  the  house  was  repaired, 
during  the  previous  season,  unbeknown  to  Mr.  Price. 
Mr.  Anderson  published  statements  and  affidavits, 
which  went  to  prove  that  the  punishment  was  alto 
gether  unmerited  ;  and  several  papers  which  had  been 
opposed  to  Mr.  A.  pronounced  him  an  injured  man. 
Mr.  Anderson,  however,  concluded  not  to  contest  the 
question  before  the  bar  of  public  opinion  in  New  York, 
but  accepted  an  engagement  here,  and,  as  we  have 
stated,  was  announced  to  appear  on  the  evening  of 
November  3,  '31. 

The  house  was  filled  to  overflowing.  One  or  two 
ladies  were  in  the  boxes,  but  soon  withdrew.  Before 
the  curtain  went  up,  Mr.  Barrett  came  forward,  and 
stated  that  it  was  not  the  intention  of  the  management 
to  force  Mr.  Anderson  upon  the  Boston  public ;  that 
the  statement  he  had  published,  which  was  substantiated 
by  the  oaths  of  himself  and  three  others,  had  not  been 
denied  or  questioned  ;  and  that  the  excitement  in  New 
York  was  unjustifiable.  Mr.  Barrett  was  warmly  ap- 


294  RECORD    OF    THE    BOSTON    STAGE. 

plauded,  and  the  play  proceeded.  On  Mr.  Anderson's 
appearance  he  was  received  with  the  most  uproarious 
applauses,  which  subsiding,  a  few  who  had  the  hardi 
hood  to  oppose  the  overwhelming  majority  ventured  a 
few  faint  hisses,  which  immediately  produced  a  restora 
tion  of  the  applause,  mingled  with  cries,  —  "  Throw  him 
over  ! "  —  "  Put  'em  out !  "  —  "  Out  with  the  New 
Yorkers  ! "  The  house,  after  a  lapse  of  some  minutes, 
became  orderly,  and  every  thing  passed  on  well  until  the 
third  act  was  nearly  through,  when  the  crowd  outside, 
instigated  by  a  few  New  York  Hotspurs,  forced  a  way 
into  the  bars  of  the  pit.  The  cry  of  fire  was  raised, 
and  confusion  prevailed.  The  musicians  fled,  and  for 
a  time  the  affair  looked  serious,  rendered  doubly  so  by 
the  breaking  of  the  windows  and  lamps  in  front,  the 
newly  laid  Macadamised  street  furnishing  ready  mate 
rials  for  mischief.  The  actresses  were  so  much  alarmed 
that  they  left  the  theatre  ;  and  though  after  the  intrud 
ers  had  been  repulsed,  and  order  restored,  the  audience 
called  for  the  play  to  continue,  the  managers  were 
obliged  to  pass  to  the  farce,  and  no  farther  interruption 
was  made.  Several  of  the  rioters  were  arrested  and 
punished.  Mr.  Anderson  published  a  card,  thanking 
the  public  for  their  kindness,  and  completed  his  engage 
ment  successfully.  He  appeared  as  Captain  Malcolm 
to  Mrs.  Anderson's  Stella  Clifton,  in  the  "  Slave,  or 
Blessings  of  Freedom,"  Tom  Tug,  in  the  "  Waterman," 
and  gave  a  concert  for  the  benefit  of  the  poor,  but  the 
city  government  remitted  the  money  to  him. 

On  the  14th  of  November,  Forrest  brought  out  the 
"  Gladiator,"  written  for  him  by  Dr.  Bird,  which  was 
very  successful.  Mr.  Pelby  also  produced  "  De  Lara, 


RECORD    OF    THE   BOSTON    STAGE.  295 

or  the  Moorish  Bride,"  written  by  Mrs.  Caroline  Lee 
Hentz,  for  Mr.  Pelby.  A  very  fine  lithographic  print 
by  Pendleton  is  still  extant  of  Mr.  P.  in  this  part.  The 
"  Water  Witch,"  dramatized  by  Finn  from  Cooper's 
novel,  had  a  good  run. 

Mr.  Sinclair,  father  to  Mrs.  Sinclair,  made  his  first 
appearance  on  the  Boston  boards  February  6,  as  Fran 
cis  Osbaldiston,  in  "  Rob  Roy,"  Mrs.  Barrett  as  Helen 
Me  Gregor.  He  was  pronounced,  and  undoubtedly  was, 
the  most  accomplished  male  singer  who  then  had  ap 
peared  on  the  boards.  After  his  engagement,  he  gave 
concerts  with  great  success.  On  Monday,  March  5th, 
"  Cinderella  "  was  produced  the  first  time  in  this  city, 
with  the  following  cast :  —  Felix,  Mr.  Walton  ;  Pam- 
polino,  Johnson ;  Dandini,  Comer ;  Alidon,  Colling- 
born ;  Pedro,  G.  H.  Andrews  ;  Hunters,  Leman,  Rice, 
etc. ;  Cinderella,  Mrs.  Austin  ;  Clorinda,  Miss  Eberle  ; 
Thisbe,  Mrs.  W.  H.  Smith ;  Fairy  Queen,  Miss  McBride. 
Music  and  choruses  under  the  direction  of  Thomas 
Comer,  Esq.  ;  scenery  by  Mr.  Jones,  assisted  by  Sam. 
Stock  well. 

As  a  spectacle,  nothing  equal  to  it  had  been  witnessed 
in  Boston.  The  orchestra,  lead  by  Milon  from  Phila 
delphia,  was  full  and  effective,  and  the  captivating  Mrs. 
Austin  sang  with  sweetness  of  tone  and  brilliancy  of 
execution.  It  had  a  good  run.  Miss  Hughes  and  Mr. 
Sinclair  subsequently  sustained  the  leading  parts  in  this 
piece. 

On  the  22d  of  April,  1832,  Mr.  Frederick  S.  Hill,  a 
Boston  boy,  opened  in  Romeo,  Mrs.  Barrett  as  Juliet ; 
and  subsequently  performed  Charles  Austencourt  in 
"  Man  and  Wife,"  Charles  Surface  in  "  School  for 


296  RECORD    OP   THE    BOSTON    STAGE. 

Scandal,"  and  Henry  Stanley  in  "  Paul  Pry,"  in  all  of 
which  he  acquitted  himself  to  the  satisfaction  of  the 
public.  Mr.  Hill  was  for  many  years  connected  with 
the  National  Theatre,  but  subsequently  retired  from 
the  profession,  devoting  his  attention  to  literature,  in 
which  as  a  critic  and  essayist  he  possessed  peculiar 
powers.  He  appeared  once  of  late  years  at  the  Howard 
Athenaeum,  a  few  months  prior  to  his  death,  which 
occurred  in  1851. 

Mr.  Forrest  and  Mrs.  Duff  played  an  engagement, 
and  in  May  12,  Miss  Mary  Duff,  daughter  of  Mrs. 
Duff,  appeared  as  Helen  Worrit,  a  part  in  which  she 
made  her  debut  in  Philadelphia,  in  the  preceding  year, 
where  she  also  played  Cora  to  Forrest's  Holla.  In 
light,  genteel  comedy,  she  was  quite  good,  and  her 
mother's  friends  rallied  around  her  and  gave  her  hand 
some  encouragement.  This  actresses'  theatrical  career 
was  quite  a  remarkable  one.  She  was  married  in  the 
year  1835  to  Augustus  A.  Addams,  a  young  actor  of 
merit,  and  Judge  Conrad  wrote  the  play  of  "Jack 
Cade  "  for  him.  He  was  a  son  of  John  S.  Addams  of 
Worcester  county,  Mass.  The  union  between  Miss 
Duff  and  Addams  was  any  thing  but  a  happy  one,  both 
being  guilty  of  indiscretions,  which  finally  led  to  a 
separation.  Mrs.  Addams  then  contracted  an  intimacy 
with  Mr.  Joseph  Gilbert,  and  a  second  time  Mrs. 
Addams  dissolved  the  connection,  and  continued  to  play 
at  the  various  southern  and  western  theatres,  till  1st  of 
August,  1852,  when  she  died  at  Memphis,  Tenn. 
Addams  died  in  Cincinnati,  1850. 

We  are  happy  to  record  that  the  profession  in  Amer 
ica,  so   far  as  the   respectability   of    its   members   in 


RECORD    OF    THE   BOSTON    STAGE.  297 

private  life  is  concerned,  never  stood  higher ;  and  the 
following,  from  the  Westminster  Review  for  January, 
1853,  is  equally  applicable  both  sides  of  the  water. 

We  believe,  says  the  Review,  there  never  was  a 
period  when  actors,  as  a  class,  were  more  thoroughly 
respectable.  Provident  views,  and  a  passion  for  ac 
cumulation,  have  expelled  the  erratic  and  thriftless 
vice  of  by-gone  generations.  The  old  tavern  propen 
sities  are  gone  out ;  the  reckless  dissipative  and  pro 
verbial  excesses  have  disappeared.  *  *  *  *  The 
sins  of  the  stage  become  notorious  —  its  virtues  are 
seldom  heard  of,  and  people  are  apt  to  conclude  that  it 
possesses  none.  A  man  may  go  through  life  strictly 
discharging  all  his  moral  and  social  responsibilities, 
without  exciting  the  slightest  notice ;  let  him  violate 
any  of  them,  and  his  name  is  scandalized  abroad  at 
once.  The  same  thing  happens  in  reference  to  the 
stage.  We  are  familiar,  in  a  thousand  exaggerated 
shapes,  with  its  errors  and  lapses;  but  nobody  ever 
tells  us  any  thing  about  its  quiet  charities,  its  home 
fidelities,  its  heroic  triumphs  over  those  special  and 
most  dangerous  opportunities  and  temptations  by  which 
it  is  beset.  The  evil  that  is  done  is  always  known ; 
but  "  we  know  not  what 's  resisted  ! "  If  we  could 
trace  these  things  to  their  source,  we  should  discover 
that  the  stage  is  vitiated  by  contact  with  the  great 
world,  more  than  by  any  original  taint  in  its  own  blood. 
The  disgraces  that  have  grown  up  in  the  theatre  have 
been  chiefly  inflicted  by  the  patronage  of  persons  in 
power,  who  have  introduced  into  the  profession  the 
individuals  who  have  carried  their  shame  into  the  green 
room.  The  theatre  cannot  escape  the  influence  that 


298       RECORD  OF  THE  BOSTON  STAGE. 

forces  these  vicious  grafts  upon  it.  Men  of  fashion  like 
to  see  their  mistresses  on  the  stage,  and  will  make  any 
sacrifice  to  get  them  there.  It  flatters  their  vanity, 
and  procures  them  a  sort  of  eclat  they  exult  in.  But 
the  profession  itself  is  not  fairly  chargeable  with  the 
discredit  such  circumstances  have  attached  to  it.  Those 
who  have  been  born  and  bred  in  it  are  not  the  persons 
who  have  degraded  its  reputation ;  and,  with  a  reason 
able  allowance  for  their  position,  there  is  no  class  in 
the  community  more  remarkable,  for  constancy  and 
devotion  in  their  domestic  relations. 

"Aladdin"  was  brought  out  this  season  at  the 
Tremont.  Aladdin,  Mrs.  Barrett;  Kassrac,  W.  H. 
Smith.  The  latter  part  of  the  season  was  somewhat 
affected  by  the  visit  of  the  Hermanns,  who  gave  their 
musical  soirees  at  the  Masonic  Temple,  and  by  the  new 
amphitheatre  at  the  North  End,  which  was  the  com 
mencement  of  the  National  Theatre.  The  season 
closed  July  9th. 

The  season  of  1832-3,  commenced  on  the  27th  of 
August,  George  H.  Barrett  as  acting  manager.  The 
company  included  Messrs.  Finn,  Smith,  Comer,  and 
other  favorites.  The  opening  play  was  Goldsmith's 
comedy  of  "She  Stoops  to  Conquer"  with  a  fancy 
dance  by  Misses  Eberle  and  McBride,  followed  by  "  My 
Master's  Rival,"  a  laughable  farce.  The  stage  was  for 
the  first  time  lit  with  gas. 

The  stars  this  season  were  Hackett,  Miss  Vincent, 
Wallack,  (after  an  absence  of  three  years,)  Miss 
Hughes,  C.  E.  Horn,  Forrest,  Charles  Kean,  Booth, 
Sinclair,  Kembles,  father  and  daughter,  C.  H.  Eaton, 
and  others  of  less  note. 


RECORD    OF    THE    BOSTON    STAGE.  299 

The  season  was  not  without  incident  worthy  of  note. 
Mr.  Woodliull,  a  good  melo-dramatic  actor,  and  Miss 
Courtney,  a  fine  looking  woman,  correct  in  her  reading, 
graceful,  lively  and  dashing,  made  their  appearance. 

Miss  Vincent,  quite  a  young  actress,  was  exceed 
ingly  popular  in  such  parts  as  Letitia  Hardy,  Bertha, 
Clara,  Miss  Hardcastle,  Kate  O'Brien,  etc.  She  pos 
sessed  a  slight  but  beautiful  figure,  a  face  beaming  with 
intelligence,  and  a  most  musical  voice,  which,  without 
any  great  degree  of  cultivation,  enabled  her  to  execute 
the  incidental  songs  in  the  pieces  with  good  effect.  The 
admirers  of  this  lady  were  chiefly  of  the  younger  por 
tion  of  the  community.  Mr.  Wallack,  during  his 
engagement,  brought  out  "  The  Brigand,"  in  the  second 
act  of  which  he  sang  "  Love's  Kitonella,"  which  was 
the  air  of  the  times.  This  engagement  was  successful. 
Mr.  Forrest  ran  through  his  usual  range  of  pieces,  and 
brought  out  "  Uralloosa,  or  the  Son  of  the  Incas,"  writ 
ten  by  Dr.  Bird. 

On  the  16th  of  November,  that  unequalled  troupe  of 
pantomimists,  the  Ravel  Family,  made  their  first  appear 
ance  in  Boston.  The  family  then  consisted  of  ten  per 
sons,  and  they  attained  at  once  that  popularity  which 
has  continued  until  the  present  time.  The  "  Carnival 
of  Venice  "  and  other  pieces,  drew  crowds  to  the  old 
Tremont. 

On  the  12th  of  November,  the  Federal  Street  Thea 
tre  was  opened  by  the  managers  of  the  Tremont,  and 
continued  open  for  several  weeks.  Forrest  appeared 
at  the  old  house  one  night,  and  the  Ravels  the  night 
following,  and  by  thus  appearing  alternately  the  attrac 
tion  was  kept  up.  Charles  Kean  also  appeared  at  the 


300  RECORD    OF    THE    BOSTON    STAGE. 

old  theatre,  supported  by  Hamblin  and  Miss  Vincent, 
and  then  went  to  the  Tremont.  The  object  of  keeping 
open  both  houses  was  to  effect,  if  possible,  the  success 
of  the  little  Warren  Theatre.  The  box  tickets  at  the 
Tremont  were  $1.00 ;  at  the  Frederal  Street,  fifty  cents; 
and  purchasers  of  box  tickets  at  the  Tremont,  had  the 
privilege  of  entering  the  old  house  the  same  evening, 
without  additional  charge.  On  the  21st  of  November, 
J.  Sheridan  Knowles'  popular  play  of  the  "Hunch 
back  "  was  produced  for  the  first  time,  at  the  Tremont 
Theatre  ;  the  play  had  been  brought  out  on  the  even 
ing  previous,  (20th  inst.,)  at  the1  Warren,  for  the  first 
time  in  Boston.  At  the  Tremont,  the  cast  was  as  fol 
lows: —  Master  Walter,  Chas.  Kean;  Sir  Thos.  Clif 
ford,  Hamblin ;  Modus,  George  Barrett ;  Lord  Tinsel, 
W.  H.  Smith ;  Julia,  Miss  Vincent ;  Helen,  Mrs.  Bar 
rett.  With  such  support  it  could  not  have  failed  of 
success.  The  fine  display  of  talent  witnessed  in  the 
concentrated  efforts  of  Kean,  Hamblin,  and  Miss  Vin 
cent,  filled  the  house  nightly,  and  the  legitimate  drama 
well  presented,  drew  —  as  it  invariably  will  —  the 
fashion  and  talent  of  the  city. 

Mrs.  Barrymore  appeared  at  the  Tremont,  on  the 
17th  of  December.  She  had  been  playing  at  the 
Warren.  This  lady  was  among  the  first  who  intro 
duced  to  the  Boston  stage  a  style  of  dancing  attractive 
from  grace  alone,  and  entirely  distinct  from  that  school, 
the  most  important  feature  of  which  appears  to  consist 
in  the  zephyr-like  drapery,  and  the  immodest  quantity 
worn  at  that  Mrs.  Barrymore  appeared  as  the  Wife 
and  Widow  in  the  "Soldier's  Wife  and  Soldier's 
Widow,"  and  during  the  season,  made  a  great  hit  as 


RECORD    OF    THE    BOSTON    STAGE.  301 

Fenella,  in  the  opera  of  "  Masaniello,"  which  was  put 
on  the  stage  in  the  most  perfect  manner,  the  vocalists 
consisting  of  Mr.  Sinclair,  Miss  Hughes,  Mrs.  Austin, 
etc.,  and  the  chorus  led  by  Mr.  Oliver.  "  Artaxerxes," 
the  "  Tempest,"  "  Guy  Mannering,"  "  Fra  Diavolo  " 
and  "John  of  Paris,"  were  also  produced,  and  drew  well. 

On  the  22d  of  February,  Mr.  Smith  recited  a  poem, 
written  by  Mr.  Stephen  Bates,  on  the  anniversary  of 
Washington's  birth-day. 

In  the  month  of  April,  1833,  a  benefit  was  given  by 
the  citizens  of  Boston  to  John  Howard  Payne.  This 
gentleman,  after  an  absence  of  nearly  twenty  years, 
which  had  been  passed  in  England  and  France,  re 
turned  to  the  city  of  his  early  triumphs.  Many  kind 
friends  resolved  to  imitate  the  example  set  in  New 
York,  and  give  Mr.  Payne  a  benefit ;  for  like  many 
others,  he  returned  from  England  and  France  not 
much  enriched  by  his  long  sojourn  abroad.  A  prepara 
tory  meeting  was  held  at  the  Tremont  House,  and  a 
committee  of  gentlemen  appointed  to  carry  out  the 
object.  The  evening  of  the  3d  of  April  was  selected 
for  this  testimonial  at  the  Tremont,  and  the  pieces  con 
sisted  entirely  of  selections  from  the  various  plays  of 
Mr.  Payne  as  follows  — "  Life  in  Humble  Life," 
"  Theresa,"  "  The  Lances,"  and  "  Charles  II."  Although 
the  selection  of  the  pieces  was  a  graceful  compliment 
to  the  beneficiary,  and  very  appropriate  to  the  occasion, 
it  proved  unfortunate,  as  they  had  been  acted  here  a 
hundred  times.  The  night  selected  was  also  unpropi- 
tious,  preceding,  as  it  did,  the  general  Fast,  when  many 
families  in  this  city  unite  in  social  gatherings.  These 
and  other  causes  rendered  the  attempt  —  so  far  as 


302  RECORD    OF    THE    BOSTON    STAGE. 

pecuniary  reward  was  intended  —  a  partial  failure,  but 
the  character  of  the  audience  gave  proof  of  the  estima 
tion  in  which  Mr.  Payne  was  held  both  as  a  man  and 
an  author.  During  the  evening,  Mrs.  Barrett  recited 
the  following  address,  written  for  the  occasion  by  Park 
Benjamin,  Esq. :  — 

ADDRESS. 

Could  some  enchantress,  by  her  magic  spell, 

Fair  as  Love's  Goddess  from  her  ocean-shell, 

Chase  the  dim  vapors  that  conceal  the  past 

And  o'er  Time's  sea  a  tender  radiance  cast; 

What  various  scenes,  to  gladden  and  surprise, 

Would  to  your  view,  in  bright  succession,  rise ! 

Alas !  our  age  has  unromantic  grown, 

And  fancy  is  the  sole  enchantress  known. 

Invoke  her  aid,  and  from,  her  starry  bower, 

She  may  descend  to  gild  the  passing  hour. 

Through  the  long  vista  of  departed  years, 

What  vision  first,  in  Fancy  light,  appears  ? 

See  yonder  group  of  happy  playmates  stand 

Round  one  who  seems  the  leader  of  the  band ! 

His  cheek  is  blushing  with  the  rose's  bloom, 

Why  o'er  his  forehead  waves  a  crimson  plume  ? 

His  form,  for  Cupid's,  might  well  be  adored, 

Why  is  it  girded  with  the  glittering  sword  ? 

He  speaks  —  the  group  disperse  —  now  formed  once  more, 

Behold  on  air  a  silken  banner  soar, 

In  seried  ranks,  with  measured  steps,  they  come. 

Hark!  the  shrill  fife  and  spirit-stirring  drum. 

What  field  is  this  ?    Who  leads  this  gallant  train  ? 

'Tis  Boston  Common  —  Captain  Howard  Payne. 

The  scene  is  changed—  lo!  in  the  still  midnight, 

A  lonely  student,  by  his  lamp's  faint  light. 

Pale  in  bis  cheek  —  his  eye  all  dim  with  tears; 

Can  such  deep  grief  belong  to  childhood's  years  ? 

A  son,  his  tribute  affection  pays  — 

To  her  whose  smile  had  blest  Life's  early  days. 

Can  this  frail  student  be  the  radiant  boy 

Whose  heart  so  late  was  redolent  of  joy? 


RECORD    OF    THE   BOSTON    STAGE.  303 

Ah,  yes !  immured  in  Learning's  cloistered  shade, 

Like  a  caged  eagle's,  does  his  spirit  fade. 

Once  more  a  change  of  scene  —  and  such  a  change ! 

A  stage — a  theatre  — how  brightly  strange ! 

A  simple  lad,  in  cap  and  tartan  dress, 

Yet  proud  his  bearing  and  suberb  his  crest  — 

"  My  name  is  Norval."     Norval!  can  it  be? 

Transformed  so  quickly !  that  sweet  voice  —  'tis  he ! 

That  smile — lip  half  curled  in  high  disdain, 

That  graceful  form —  nine  cheers  for  Master  Payne ! 

Let  blushing  honors  gather  round  his  fame  — 

This  "happy  deed  shall  gild  his  humble  name;  " 

For  the  wide  stage  his  youthful  footsteps  pi-ess, 

To  shield  a  much-loved  father  from  distress ; 

And,  greeted  thus  by  richly-earned  applause, 

"  Who  shall  resist  him  in  a  parent's  cause  ?  " 

Loud  were  the  praises  that  his  welcome  gave, 

In  that  far  land  beyond  th'  Atlantic  wave. 

There,  like  a  halo,  on  his  young  brow  fell 

The  laurel-garland  he  has  worn  so  well ! 

Another  change  —  within  so  brief  a  span, 

Has  this  fair  boy  become  a  serious  man? 

'Tis  true  —  but  sacred  in  his  bosom  glows 

Are  like  that  which  burns  mid  Alpine  snows. 

Though  tempests  shatter  the  volcano's  throne, 

Though  Winter  belt  him  with  an  icy  Zone, 

Still  do  the  splendors  of  his  lofty  head 

On  regions  round  a  sunlike  lustre  shed. 

So  Genius,  left  to  poverty  and  woe, 

Whose  rending  thoughts  the  world  can  never  know, 

In  its  lone  majesty,  all  coldly  shrined, 

Throws  its  broad  gleam  along  the  realms  of  mind. 

A  change  of  scene  —  the  nearest  and  the  last, 

We  need  no  spirit  to  reveal  the  past ; 

For,  lo !  'tis  present  and  before  you  now, 

The  warrior-child,  with  sword  and  plumed  brow; 

The  student,  bending  o'er  the  written  page; 

The  actor,  proudly  marching  on  the  stage ; 

The  author,  bringing  forms  to  life  and  light, 

Which  here  reflected  you  may  see  to-night  — 

At  length  has  come  —  Heaven  grant  no  more  to  roam  — 

To  his  own  native  laud,  Ms  "  home,  sweet  home ! " 


304  RECORD    OF   THE   BOSTON    STAGE. 

At  the  close  of  the  address,  the  orchestra  struck  up 
"  Home,  sweet  Home,"  after  which  there  arose  a  loud 
and  general  call  for  Mr.  Payne,  which  was  prolonged 
till  the  beneficiary  made  his  appearance.  He  was,  at 
first,  greatly  agitated,  but  soon  recovering  himself  made 
a  very  appropriate  address. 

Mr.  Payne's  benefit  was  somewhat  injured  from  the 
fact  that  the  Kembles,  who  at  first  refused  to  visit  Bos 
ton,  on  account  of  the  management  declining  to  accede 
to  terms,  which  were  equivalent  to  giving  them  the 
whole  receipts  and  paying  their  expenses  besides,  were 
shortly  announced  to  appear.  On  the  loth  of  April, 
Charles  Kemble  opened  in  "  Hamlet ; "  Laertes,  Smith ; 
Horatio,  Williamson ;  Ophelia,  Mrs.  Barrett ;  and  on 
Tuesday,  April  16,  1833,  the  celebrated  Miss  Fanny 
Kemble  made  her  first  appearance  before  a  Boston 
audience  in  Rev.  H.  H.  Milman's  play  of  "  Fazio,  or 
the  Italian  Wife."  Fazio,  Kemble ;  Bartolo,  Johnson ; 
Philario,  Williamson ;  BIANCA,  Miss  Kemble.  Dur 
ing  their  engagement,  they  appeared  together  in  the 
"  Stranger,"  "  School  for  Scandal,"  "  Romeo  and  Juliet," 
"  Provoked  Husband,"  "  Gamester,"  etc.,  creating  an 
excitement  in  the  dramatic  world  of  Boston  and 
vicinity.  The  tickets  were  sold  at  auction  by  Messrs. 
Coolidge  &  Haskell,  and  crowded  houses,  composed  of: 
the  beauty  and  wealth  of  the  city,  assembled  to  honor 
Miss  Kemble  and  her  father. 

During  this  engagement,  C.  H.  Eaton  played  Master 
Walter,  in  the  "  Hunchback,"  with  the  Kembles,  elicit 
ing  the  greatest  applause,  for  his  masterly  impersona 
tion  of  a  part  upon  which  depends  the  success  of  the 
play. 


RECORD    OF   THE   BOSTON    STAGE.  305 

The  Federal  Street  was  again  opened  on  the  3d  of 
June,  by  Barrett,  when  the  "  Cataract  of  the  Ganges" 
was  the  principal  attraction.  Master  Burke  appeared 
at  the  Federal  Street  and  then  went  to  the  Tremont, 
but  his  engagement  was  not  very  successful  —  the  visit 
of  General  Jackson  to  this  city  monopolizing  the  atten 
tion  of  the  public. 

On  the  8th  of  July,  Mr.  and  Mrs.  Barrett  took  a 
farewell  benefit,  the  last  night  of  the  season.  Mr. 
Barrett  was  called  out,  and  bid  his  Boston  friends 
farewell,  stating  that  circumstances  beyond  his  control 
compelled  him  to  part  from  the  Boston  public. 

With  Mr.  Barrett's  engagement  terminated  the  lease 
of  three  years,  taken  by  Francis  W.  Dana.  The  terms 
of  this  lease  were  that  the  corporation  should  rent  the 
bars  for  themselves,  and  that  Mr.  Dana  should  pay  for 
the  rent  of  the  rest  of  the  building  a  certain  per 
centage  on  the  receipts.  The  result  was  that  by  his 
arrangement  with  Russell  and  Barrett,  Dana  paid  .on 
an  average  a  rent  of  about  $2,200  a  year,  while  the 
bars  produced  about  $2,500,  and  the  corporation  de 
rived  in  the  aggregate  from  both  sources  a  rent  of 
something  short  of  $5,000  a  year.  Mr.  Dana  refused  to 
renew  his  lease  upon  any  terms  except  part  profits,  or 
some  other  contingent  contract  depending  upon  receipts, 
which  the  directors  declined.  On  his  retirement  from 
the  lesseeship,  Mr.  Dana  gave  a  dinner  at  Nahant  to 
the  leading  actors  and  other  gentlemen  connected  with 
the  theatre.  Mr.  Dana  was  a  shrewd  business  man.  He 
was  highly  respected  in  the  community,  and  at  his 
death,  which  occurred  in  August,  1835,  the  public 
mourned  the  loss  of  an  enterprising  man. 
20 


.306  RECORD    OF    THE    BOSTON    STAGE. 


CHAPTER  XXI. 

Biographical  Sketch  of  Charles  H.  Eaton.  —  The  Season  of  1833—4.  — 
Thomas  Barry,  Esq.  —  His  First  Season  in  Boston.  —  Tyrone  Pow 
er.  —  The  Visit  of  the  Woods  to  Boston.  —  Dana  v.  Kemble.  — 
Recollections  and  Reminiscences  of  the  Woods,  etc.,  etc. 

To  a  majority  of  our  readers,  at  all  conversant  with 
theatricals,  the  name  of  Charles  H.  Eaton  will  arouse 
melancholy  yet  pleasing  memories.  He  was  born  in 
Poplar  Street,  Boston,  June  10th,  1813,  and  died  at 
the  Exchange  Hotel,  Pittsburgh,  June  4th,  1843,  aged 
nearly  30  years.  His  father,  though  obliged  to  contend 
with  adverse  fortunes  in  his  declining  years,  was  an  opu 
lent  merchant  in  the  meridian  of  life ;  his  son,  Charles, 
therefore,  received  an  excellent  English  education. 
After  several  years'  tuition  at  the  Fort  Hill  School, 
he  was  admitted  to  the  English  High  School,  where  his 
academic  course  was  completed  ;  at  one  period  he  was 
a  pupil  of  the  Latin  School,  (then  on  School  Street,) 
where  he  pursued  the  preparatory  studies  requisite  for 
.admission  to  college.  The  decided  bent  of  Mr.  Eaton's 
mind  for  the  stage,  early  manifested  itself.  While  a 
mere  lad,  he  joined  a  private  theatrical  society,  called 
the  "  Siddonians"  Never  was  there  a  more  earnest 
.and  assiduous  devotee  of  Thespis,  than  this  youthful 
aspirant  for  Siddonian  honors.  The  crude  tyros  who 
became  constant  patrons  of  the  society,  prided  them- 
.selves  upon  appreciating  and  fostering  native  talent ; 
C.  H.  Eaton,  being  greatly  superior  to  his  fellow 
amateurs,  very  assiduous  and  verbally  accurate  in  all 


RECORD    OF    THE    BOSTON    STAGE.  307 

his  parts,  stood  confessed  to  their  admiring  gaze,  a 
"  star  of  the,  first  magnitude  !  "  His  first  public  appear 
ance  in  the  profession,  to  which  he  was  eminently 
adapted,  was  in  the  winter  of  1833,  at  the  Warren 
Theatre ;  on  this  occasion,  he  played  "  The  Stranger" 
in  Kotzebue's  tragedy  of  that  name,  for  the  Benefit  of 
Mr.  Reuben  Meer.  It  was  a  most  triumphant  debut,  as 
many  of  our  readers  well  remember.  Eaton's  masterly 
delineations  of  character,  immediately  succeeding  this 
his  first  professional  effort,  convinced  all  who  were 
competent  to  judge,  that  his  mind  had  the  impress  of 
genius.  No  actor  of  our  day  ever  excited  such  uni 
versal  interest  as  a  debutant.  A  series  of  able  person 
ations  of  most  arduous  characters  won  for  the  youthful 
histrion,  "golden  opinions  from  all  sorts  of"  journals. 
His  second  appearance  was  at  the  Tremont  Theatre  as 
Richard  III.,  a  few  months  after  his  debut ;  it  was  a 
most  effective  and  startling  performance;  the  unex 
pected  display  of  such  excellence  riveted  the  attention 
of  his  auditory.  On  the  following  morning,  nearly 
every  paper  in  Boston,  that  ever  contained  theatrical 
notices,  lavished  the  highest  encomiums  upon  the  per 
formance.  Attached  to  the  Commercial  Gazette  at  the 
time  was  the  most  approved  dramatic  critic  of  Boston. 
His  criticisms  were  received  with  implicit  faith  as 
oracular,  "  ex  cathedra  "  announcements.  He  observed 
substantially  of  Mr.  E.'s  delineation  of  the  Duke  of 
Gloster,  that  he  attended  the  theatre  with  the  expecta 
tion  of  witnessing  a  laughable  burlesque  ;  he  had  anti 
cipated  that  this  new  aspirant  for  Roscian  immortality 
would  follow  in  the  footsteps  of  his  illustrious  predeces 
sor,  and  his  rash  attempt  prove  a  miserable  abortion ; 


308  RECORD    OF   THE    BOSTON    STAGE. 

his  astonishment  was  consequently  great,  upon  witness 
ing,  instead  of  the  predicted  caricature,  a  most  masterly 
piece  of  acting.  "  In  the  last  scene,"  said  Mr.  T.,  "Mr. 
Eaton  (whom  but  for  his  lbig,  manly  voice?  I  should 
have  called  Master  Eaton)  seemed  a  very  Jiend  incar 
nate  ;  his  look  and  mien  constituted  a  thrilling  picture 
of  intensest  rage."  The  next  performance  in  order  of 
time,  was  Damon  on  the  same  week.  The  house  was 
crowded.  At  the  close  of  the  play,  George  Barrett,  Esq., 
grasping  his  hand,  exclaimed,  "  You  young  dog  !  how 
can  you  play  so  well  ?  It  is  wonderful ! "  At  the 
termination  of  this  engagement,  at  the  instance  of  his 
friends,  Mr.  E.  retired  to  Burlington,  (a  small  town  near 
Boston,)  to  cultivate  and  improve  his  great  natural 
powers.  With  treatises  on  elocution,  an  able  work  on 
gesticulation  and  posturing,  (illustrated  by  plates,)  and 
other  requisites  for  the  object  in  view,  he  there  devoted 
several  months  with  untiring  industry  to  improvement 
in  the  vocation  of  his  choice.  Mr.  Eaton  paid  great 
attention  to  his  voice,  acquiring  a  very  great  variety  of 
intonation.  The  following  fall,  he  returned  to  his  native 
city.  The  Kembles  were  about  appearing  there  for  the 
first  time.  John  O.  Sargent,  then  assistant  editor  of 
the  Atlas,  and  recently  one  of  the  editors  of  the  Wash 
ington  Republic,  suggested  that  it  would  be  a  fine 
opportunity  for  him  to  give  the  elite  of  Boston  a  "  taste 
of  his  quality."  A  large  number  of  our  citizens,  promi 
nent  for  talent,  wealth,  and  station,  had  become  Eaton's 
personal  friends.  A  written  request  that  he  might 
appear  with  the  renowned  foreign  artists,  numerously 
signed,  was  sent  to  the  management  of  the  Tremont 
Theatre.  The^late  Dr.  Ingalls  headed  the  list,  and  the 

I 


RECORD    OP   THE   BOSTON    STAGE.  309 

signature  of  the  lamented  Lynde  M.  Walter  followed. 
The  wishes  of  so  many  gentlemen,  eminent  and  influ 
ential,  were  readily  complied  with.  Mr.  Eaton  enacted, 
as  we  have  noted  above,  Master  Walter  to  Miss  Fanny 
Kemble's  Julia;  the  house  was  crowded  from  floor  to 
ceiling,  but  the  young  Bostonian,  nothing  abashed, 
armed  with  the  confidence  of  true  ability,  proved  him 
self  fully  equal  to  his  task.  He  was  received  with 
deafening  plaudits,  and  throughout  the  evening  divided 
the  applause  with  that  lady,  who  had  come  among  us 
an  adorable  divinity,  with  all  the  halo  of  her  transat 
lantic  triumphs.  The  play  was  repeated  with  the  same 
cast  and  the  same  success.  During  the  evening,  Mr. 
Charles  Kenfble  complimented  Eaton  highly,  remark 
ing  that  he  was  a  fine  reader,  with  a  voice  more  power 
ful  and  melodious  than  any  actor's  within  the  scope  of 
his  experience.  We  well  remember  the  attractive 
personal  appearance  of  C.  H.  Eaton  at  this  period.  He 
was  a  decidedly  handsome  man  ;  his  head  and  face 
being  strikingly  intellectual.  The  features  were  what 
is  understood  as  classical;  a  long,  straight,  Grecian 
nose,  facial  oval  contour,  chin  rather  long  and  rounded, 
a  mouth  made  beautiful  by  a  finely  curved  upper  lip, 
combined  with  a  clear,  light,  healthy  complexion,  will 
convey  some  idea  of  his  pleasing  exterior;  his  dark 
hazel  eyes  were  full,  large,  and  expressive,  while  a 
profusion  of  dark  auburn  hair,  slightly  curling,  adorn 
ed  his  manly  brow.  Charles  H.  Eaton  was  not  a  large 
man,  being  but  five  feet  six  and  a  half  inches  in  height ; 
but  he  was  very  far  from  diminutive ;  his  full,  ample 
chest,  the  stately  carriage  of  his  head,  and  the  great 
muscular  development  of  his  well-rounded  limbs,  made 


310  RECORD    OF    THE   BOSTON    STAGE. 

him  seem  above  the  medium  size,  though  not  "  ex  pede 
Herculem,"  in  grace  and  dignity  of  mien  he  moved  an 
Apollo.  In  1835  he  made  his  first  theatrical  tour.  At 
his  farewell  benefit,  he  played  Brutus  in  the  "  Fall  of 
Tarquin."  The  Tremont  was  thronged.  He  was  im 
mediately  engaged  to  play  in  Philadelphia,  at  the  Arch 
Street  Theatre.  This  was  in  October.  After  personat 
ing  most  successfully  his  principal  characters,  at  the 
expiration  of  three  weeks  he  went  to  Baltimore.  While 
in  Philadelphia,  James  Gordon  Bennett,  then  a  demo 
cratic  editor,  became  his  warm  personal  friend.  In  the 
" monumental  city"  he  played  a  fortnight  at  the  Holi 
day,  and  at  the  Front  Street  the  same  length  of  time. 
The  most  prominent  parts  were  Richard,  Othello,  lago, 
Pescara,  Damon,  Brutus,  Shylock,  Sir  Giles  Overreach, 
Sir  Edward  Mortimer,  etc.  The  whole  winter  of  '36 
and  a  part  of  the  ensuing  spring  were  spent  in  Wash 
ington,  where  he  had  once  more  an  opportunity  to  play 
with  the  Kembles  and  other  celebrities.  He  here  con 
tracted  a  personal  intimacy  with  some  of  the  legislative 
magnates  of  our  land.  Some  of  the  southern  represen 
tatives  who  had  not  hitherto  heard  him,  exclaimed,  upon 
witnessing  his  Master  Walter,  with  constitutional  ardor, 
"  Whom  have  we  here  ?  A  resurrection  of  the  elder 
Kean !  A  second  Kean  is  among  us  ! "  etc.  Upon  his 
return  to  Boston  the  following  autumn,  the  reception 
that  awaited  him  was  most  enthusiastic.  Mr.  Pelby 
engaged  him  at  the  National.  Every  ticket  was  sold 
for  several  successive  nights.  This  engagement  .was  a 
most  lucrative  one  for  both  manager  and  actor.  Shortly 
after  its  termination,  Mr.  Eaton  went  to  Bangor,  where 
his  success  was  unprecedentedly  brilliant.  That  city 


RECORD    OF    THE   BOSTON    STAGE.  311 

was  still  enjoying  the  ephemeral  prosperity  consequent 
upon  the  eastern  land  speculations.  He  played  to  a  full 
house  each  night,  and  on  his  benefit  night  more  than  a 
hundred  paid  for  the  privilege  of  being  "  lobby  members." 
His  two  engagements  here,  and  the  one  in  Boston  im 
mediately  preceding,  yielded  him  several  thousand  dol 
lars.  About  a  month  subsequent  to  this,  Mr.  E.  effected 
another  engagement  at  the  National,  for  the  purpose  of 
playing  the  part  of  Bernardo  del  Carpio,  in  a  tragedy 
of  that  name,  written  for  him  by  Henry  F.  Harrington, 
Esq.  Uncommon  pains  were  taken  to  have  it  produced 
in  a  proper  and  effective  manner ;  new  and  costly 
dresses  were  made  for  all  the  leading  characters,  and 
W.  H.  Smith,  than  whom  no  man  living  is  more  com 
petent  to  the  task,  exerted  himself  strenuously  to  afford 
it  a  fair  field.  The  author,  Mr.  Harrington,  is  a  forcible 
writer,  a  man  of  decided  talent,  especially  that  peculiar 
talent  essential  to  the  success  of  a  playwright.  Unhap 
pily,  the  author,  who  had  within  him  the  innate  materiel 
of  a  first  rate  dramatist,  did  not,  on  this  occasion,  avoid 
the  rock  upon  which  novitiates  of  every  description  are 
so  liable  to  founder.  He  attempted  too  much  with  his- 
hero,  and  in  reaching  too  high  he  over-reached,  unob 
servant  of  the  modesty  and  probabilities  of  nature.  The' 
part  of  Bernardo  is  a  continuous,  ever-increasing  tornado* 
of  all  the  passions;  —  love,  grief,  hatred,  despair,  re 
venge,  till  piled-up  horrors  —  Pelion  upon  Ossa  —  cap 
the  stormy  climax !  An  effective  impersonation  of 
Bernardo  would  require  the  strength  of  Alcides,  and 
the  Bull  of  Bashan's  lungs  !  Mr.  Eaton  evinced  his. 
immense  physical  power  by  playing  it  five  successive 
nights  with  unflagging  energy.  At  this  period  he  was. 


312  RECORD    OF   THE    BOSTON    STAGE. 

in  the  prime  of  vigorous  manhood,  industrious  and  am 
bitious.  The  succeeding  four  or  five  years  were  passed 
by  Mr.  E.  at  the  south-west,  where  he  enjoyed  great  pop 
ularity,  personal  and  professional.  Upon  his  return  to 
Boston  in  1842,  he  played  two  engagements,  evincing 
that  refinement  and  chaste  finish  resulting  from  experi 
ence  and  mind.  His  last  appearance  in  Boston  was  in 
the  fall  of  1842,  at  the  Tremont  Theatre,  where  he 
personated  Richard  III.  to  a  house  filled  with  his 
friends  and  admirers,  who,  alas!  little  thought  that 
their  eyes  rested  for  the  last  time  on  him  whom  every 
one  loved,  and  of  whose  genius  all  were  proud ;  but 
such  was  the  stern  fiat  of  inexorable  fate  !  At  Pitts 
burgh  he  commenced  an  engagement,  on  the  second 
night  of  which  he  played  William  Tell  to  a  house  filled 
to  its  utmost  capacity.  Being  exhausted  by  the  even 
ing's  exertions,  he  went  to  his  hotel  about  eleven  o'clock, 
and  retired  to  his  chamber.  While  an  attendant  was 
unlocking  his  door,  he  reclined  upon  the  balustrade 
fronting  it ;  while  in  that  position  he  was  seized  with  a 
dizziness,  consequent  upon  a  rush  of  blood  to  the  head, 
a  complaint  to  which  he  was  subject.  This  sudden 
vertigo  caused  him  to  reel  backwards  ;  and  the  staircase 
being  spiral,  or  what  is  termed  a  "well"  stairway,  he 
was  precipitated  the  distance  of  forty  or  fifty  feet  to  the 
marble  flags  below !  It  was  found  that  his  skull  and 
one  arm  were  fractured.  Every  possible  attention  was 
paid  to  him  by  the  warm-hearted  citizens,  but  he  failed 
gradually,  despite  the  best  medical  attendance,  and  died 
on  June  4th,  1843,  after  five  days  of  intense  suffering. 
Soon  after  the  untimely  decease  of  the  lamented  trage 
dian,  a  committee  was  chosen  by  the  citizens  of  Pitts- 


RECORD    OF    THE    BOSTON    STAGE.  313 

burgh  to  collect  funds  for  the  erection  of  a  monument 
to  his  memory.  We  have  understood,  and  it  is  very 
painful  to  believe,  that  certain  members  of  that  com 
mittee  were  false  to  the  sacred  trust  reposed  in  them. 
Before  closing  the  compendium  of  C.  II.  Eaton's  profes 
sional  life,  we  wish  to  allude  cursorily  to  his  style  of 
acting.  It  was  peculiar, —  strictly  "  sui  generis."  With 
all  the  physical  essentials  of  face,  form,  voice,  and  na 
tural  grace,  he  was  enabled,  thus,  richly  endowed,  to 
convey  fully  and  forcibly  his  minutely  accurate  and 
scholarly  conceptions.  His  performances  all  bore  an 
intellectual  impress.  As  a  reader  of  Shakspeare,  he 
was  unsurpassed. 

Mr.  Dana,  having  refused  to  renew  his  lease,  as  we 
have  stated,  the  directors  were  anxious  to  procure  a 
manager,  at  once  competent  and  able  to  take  charge  of 
the  establishment.  There  were  several  applicants,  but 
none  who  possessed  the  requisite,  talent.  The  name  of 
Thos.  Barry,  then  stage-manager  at  the  Park  Theatre, 
was  suggested,  and  he  was  offered  the  house  ;  and  on 
his  acceptation  of  it,  there  was  universal  regret  in  New 
York,  universal  rejoicing  in  Boston.  "  It  will  not  be 
easy,"  said  a  New  York  editor  at  the  time,  "  to  make 
up  the  loss  of  Mr.  Barry  to  our  audience.  He  is  the 
best  stage-manager  in  America,  and  his  gentlemanly 
deportment  and  estimable  character  have  acquired  for 
him  universal  respect  here,  and  he  carries  with  him  the 
best  wishes  of  a  large  number  of  warmly  attached 
friends."  Nearly  twenty  years  have  passed  since  this 
was  written,  and  though  Mr.  Barry  has  experienced 
the  vicissitudes  of  this  life,  and  has  passed  through 
scenes  calculated  to  render  a  man  of  less  nerve  and 


314       RECORD  OF  THE  BOSTON  STAGE. 

philosophy  somewhat  irritable,  the  same  mildness  of 
demeanor,  the  same  frankness  of  manner,  wins  to  him 
all  with  whom  he  comes  in  contact,  and  still  entitles 
him  to  "universal  respect."  This  remark  does  not 
apply  merely  to  his  friends  in  the  outer  world,  but  to 
members  of  his  own  profession,  who  respect  him  as  one 
who  is  an  ornament  to  it,  and  never  disgraced  his  call 
ing  by  any  act  which  bore  the  slightest  shade  of  mean 
ness. 

Mr.  Barry's  first  move  was  to  put  the  theatre  in 
complete  repair,  which  it  greatly  needed.  This  he  did 
at  an  expense  of  $5,000,  which  came  out  of  his  own 
pocket.  The  interior  was  repainted,  new  drapery  pro 
vided,  and  gas  introduced  into  the  body  of  the  house, 
much  to  the  satisfaction  of  the  ladies,  many  of  whom 
could  trace  a  ruined  dress  to  a  visit  to  the  theatre, 
owing  to  the  dripping  of  the  oil  from  the  lamps.  He 
secured  the  services  of  Messrs.  Finn,  Andrews,  Smith, 
Johnson,  Comer,  Williamson,  Colinbourne,  Leman,  etc., 
etc.,  Mrs.  Hughes,  Mrs.  Smith,  Miss  McBride,  Mrs. 
Barnes,  Mrs.  Campbell,  Mrs.  Holden,  with  Messrs. 
Forbes,  Blake,  Barry,  Whiting,  Miss  Duff,  Miss  A. 
Fisher,  and  Mrs.  Blake  combined,  made  a  strong  stock 
company.  Mr.  Barrymore  was  director  of  spectacles, 
Mr.  Comer  musical  director,  and  Mr.  Ostinelli  leader 
of  the  orchestra.  The  season  commenced  on  the  2d  of 
September  with  the  "  Honeymoon,"  in  which  Mr.  Barry 
plajed  Duke  Aranza,  and  Miss  Duff  Juliana,  followed 
by  the  farce  of  «  Turn  Out,"  Receipts,  $482.75.  The 
stars  this  season  were  Mr.  Kemble,  Fanny  Kemble, 
Tyrone  Power,  Ravel  Family,  C.  H.  Eaton,  Forrest, 
Hacket,  Mr.  and  Mrs.  Wood,  Mr.  Drake,  etc. 


RECORD    OF   THE    BOSTON    STAGE.  315 

On  the  4th  of  September,  Mr.  Kemble  and  Fanny 
Kemble  commenced  an  engagement  and  performed 
eighteen  nights ;  the  total  receipts,  with  premiums, 
amounted  to  $11,671.75.  The  most  productive  night 
was  that  of  "  Isabella,"  and  the  "  Chimney  Piece."  It 
was  at  this  time  that  the  case  of  Dana  v.  Kemble  com 
menced.  The  facts  in  the  case  were  briefly  these.  Mr. 
Dana  was  lessee  of  the  Tremont  Theatre,  when  Mr. 
Kemble  and  his  daughter  came  to  the  United  States 
and  commenced  playing  at  New  York.  After  a  vexa 
tious  and  protracted  negotiation,  Mr.  D.  concluded, 
through  Mr.  George  Barrett,  then  manager  of  the  Tre 
mont,  an  engagement  with  Mr.  Kemble  for  the  service 
of  himself  and  daughter,  on  the  terms  demanded  by 
him,  and  which  were  the  same  as  those  under  which  he 
played  at  the  Park,  and  which  he  (Mr.  K.)  said,  at  the 
time  of  the  negotiation,  were  "  one  half  the  houses"  that 
is  to  say,  one  half  of  the  gross  receipts  during  his  en 
gagement.  Under  this  representation  of  Mr.  Kemble, 
the  engagement  was  concluded.  He  and  his  daughter 
came  to  Boston,  played  a  number  of  nights,  were  paid, 
as  per  contract,  and  departed  again  to  the  South.  Mr. 
Dana,  as  we  have  stated,  relinquished  the  theatre,  and 
Mr.  Barry  became  lessee.  Mr.  Dana  was  in  the  habit 
of  visiting  the  box-office,  being  on  friendly  terms  with 
Mr.  Barry,  and  happened  in  one  day  at  the  conclusion 
of  the  Kembles'  engagement.  Mr.  Barry  appeared  to 
be  troubled,  and  Mr.  Dana  asked  the  cause.  "  Why," 
said  Barry,  "  the  referees  in  the  matter  of  premiums 
cannot  agree."  "  What  is  the  case  ? "  inquired  Mr. 
Dana.  Mr.  Barry  then  briefly  explained,  that  he  had 
sent  to  Mr.  Kemble  a  check  for  the  balance  due  on 


316  RECORD    OF    THE    BOSTON    STAGE. 

their  engagement,  and  that  Mr.  Kemble  refused  to 
receive  it,  alleging  that  he  should  have  a  share  of  the 
premiums.  The  matter  was  left  out.  This  led  to  some 
farther  conversation,  when  Mr.  Barry,  alluding  to  the 
Kembles'  engagement  in  New  York,  stated  that  their 
terms  at  the  Park,  where  he  was  then  stage-manager, 
instead  of  being  a  clear  half  of  the  house,  as  stated  by 
Kemble,  were,  half  after  deducting  £50  ($222.22)  per 
night.  Mr.  Dana  had  based  his  engagement  with  the 
Kembles  upon  the  ground  that  they  had  received  a 
clear  half;  and  having  heard  the  story  of  the  refusal  of 
the  money  from  Barry,  walked  quietly  down  to  his 
lawyer,  and  Mr.  Barry  was  shortly  served  with  a 
trustee  process,  and  Mr.  Dana  commenced  a  suit  to 
recover  that  which  had  been  paid,  through  the  misre 
presentation  of  Mr.  Kemble.  The  case  was  finally 
decided  in  the  Supreme  Judicial  Court  in  February, 
1835,  when  the  jury,  having  heard  the  evidence, 
awarded  Mr.  Dana  all  his  demand,  with  interest, 
amounting  to  $2,560.  W.  H.  Gardiner  for  the  plaintiff, 
and  S.  D.  Parker  for  the  defendant. 

Tyrone  Power,  known  in  the  theatrical  world  as 
"  Paddy  Power,"  whose  name  is  never  mentioned 
without  bringing  to  the  mind  his  sad  fate  on  board  of  the 
steamship  President,  made  his  first  appearance  in  this 
city  on  the  30th  of  September,  '33,  as  Sir  Patrick 
O'Plenipo,  in  the  "  Irish  Ambassador,"  and  McShane, 
in  the  "  Nervous  Man."  As  a  delineator  of  the  genteel 
Irishman,  Power  was  without  a  rival,  and  his  equal  js 
not  now  on  the  boards.  Power  has  undoubtedly  been 
surpassed  in  some  pieces,  those  of  a  lower  order,  where 
the  rough  Irishman  is  portrayed,  but  never  where  the 


RECORD    OF   THE    BOSTON    STAGE.  317 

genuine  humor  of  the  part  required  a  delicacy  of  coloring, 
and  an  almost  intuitive  conception,  has  he  been  equal 
led.  He  was  among  the  first  to  render  tolerable  this 
class  of  plays  ;  and  though  we  have  since  had  Collins, 
Williams,  Greene,  Brougham,  all  good,  the  true  Paddy 
after  all  was  Power. 

The  great  ovation  of  the  season  was  the  appearance 
of  Mr.  and  Mrs.  Wood,  (formerly  Miss  Paton,)  who 
created  as  great  an  excitement  almost  as  the  more 
recent  arrival  of  Jenny  Lind. 

The  Woods  made  their  first  appearance  in  Boston 
on  the  4th  of  December,  1833,  in  Rossini's  opera 
"  Cinderella,"  or  rather  the  English  version  of  it,  which 
differs  materially  from  "  Cenerentola."  Very  great 
expectations  had  been  excited  in  reference  to  Mrs. 
Wood,  and  the  highest  perfection  any  one  dared  to 
imagine  was  attained  in  her  performance.  Endowed 
with  a  voice  of  extraordinary  compass,  excellent  qual 
ity  and  great  power,  she  brought  to  the  execution  of 
her  music  remarkable  cultivation  and  scientific  attain 
ment,  with  that  command  of  feeling  and  expression 
which  touches  and  moves  the  mass.  Her  articulation 
was  distinct,  and  her  execution,  however  rapid,  always 
clear.  The  nicest  gradations  of  light  and  shade  had  a 
lovely  example  in  her  treatment  of  the  music,  and  from 
"  Once  a  king  "  to  "  Now  with  grief,"  she  held  the  audi 
ence  spellbound  with  the  enchantment  of  her  voice  and 
its  astonishing  capability.  The  silvery  tones  of  that 
wonderful  voice  had  full  display  in  the  duet,  "  Whence 
this  soft  and  pleasing  flame,"  the  entire  consent  and 
blending  of  her  softest  zephyr-like  tones,  with  the 
mellow  voice  of  Mr.  Wood,  having  a  magical  effect.  In 


318  RECORD    OF   THE   BOSTON    STAGE. 

the  finale,  her  wondrous  execution  and  sweep  of  voice, 
ab  u,  ely  elect  ified  the  audience,  united  as  this 
traversing  of  the  scale  was,  to  power  and  richness, 
never  before  observed  in  a  soprano  of  such  agility  and 
flexibility.  Mr.  Wood  agreeably  surprised,  nay  even 
astonished  his  public  by  the  grace  and  fluency  of  his 
execution,  the  sweet  mellow  and  full  tones  of  a  voice 
ranging  from  the  upper  bass  to  high  tenor,  and  the 
manly  elegance  of  his  person.  From  the  opening  air 
"  Morning  its  sweets  is  flinging  "  to  his  introduced  solo 
in  the  ball  scene,  all  bespoke  him  such  a  tenor  as  Bos 
ton  had  never  looked  upon  before.  The  recollection  of 
his  exceeding  grace  and  beauty  in  the  softer  passages, 
and  the  thrilling  force  and  passion  of  "  Can  I  my  love 
resign,"  will  never  be  effaced  from  the  grateful  remem 
brance  of  those  who  heard  Mr.  Wood  in  "  Cinderella." 
With  all  the  power  and  rich  tone  of  the  best  Italian 
singer  who  has  since  visited  this  city,  he  also  possessed 
a  facility  and  exquisite  grace  in  the  piano  and  pianis 
simo  none  of  them  have  united  in  the  same  person.  In 
a  word  he  brought  to  his  execution  of  music  the  rich 
and  glowing  strength  of  Bettini,  and  the  soft  delicate 
beauty  of  Salvi,  with  the  flexibility  and  truth  of  Perelli. 
The  subordinate  characters  were  admirably  presented 
at  this  time,  Comer  being  the  Dandini,  Johnson  the 
Baron,  and  the  envious  sisters  were  done  to  the  life  by 
Mrs.  Blake  and  Mrs.  Smith. 

After  this  opera,  came  "  Gnv  Mannering,"  "  The 
Barber  of  Seville,"  "  Love  in  a  Village,"  "  The  Water 
man,"  "Der  Freischutz,"  "The  Devil's  Bridge,"  "The 
Quaker,"  "  Massaniello,"  "  The  Marriage  of  Figaro," 
"  Clara  and  the  Slave,"  in  all  of  which  the  Woods 


RECORD    OF    THE    BOSTON    STAGE.  319 

sustained  that  enthusiasm  and  unequivocal  public  favor 
their  first  appearance  had  produced.  In  all  this  wide 
range  of  music  they  were  found  to  be  accomplished  to 
a  degree  unimagined  in  any  experience  at  that  period. 
Every  style  they  attempted  brought  them' new  triumphs, 
and  their  concert  performances  increased  the  list  until 
new  record  of  pieces  executed  became  synonymous 
with  perfect  success.  Nothing  like  their  duets  has  ever 
been  heard  in  this  city  since,  excepting  perhaps  the  oc 
casional  hit  of  Madame  Bishop,  and  Reeves  in  Linda, 
and  the  exquisite  blending  of  voice  by  Tedesco  and 
Perelli.  With  the  Woods,  however,  this  fusion  and 
blending  of  voice  and  soul  in  song,  was  the  rule  and 
constant  practice.  After  playing  in  opera  about  one 
month  they  left  for  the  South.  In  October,  and  De 
cember,  1835,  they  had  two  engagements  here,  when 
"  The  Maid  of  Judah,"  "  Fra  Diavolo,"  "  Robert  the 
Devil,"  and  "  La  Sonnambula,"  were  brought  out.  In 
the  two  former  Mr.  Wood  made  a  great  sensation,  by 
his  singing  of  "  When  the  Trump  of  Fame,"  "  Young 
Agnes,"  and  "  Proudly  and  Wide,"  and  lead  of  the 
chorus  in  "  Under  the  Shady  Greenwood  Tree."  In 
both  the  characters  of  Ivanhoe  and  the  Brigand,  he 
looked  as  admirably  as  he  sang.  Pending  the  produc 
tion  of  "  Robert  the  Devil,"  Mrs.  Wood  chanced  to  be 
indisposed,  and  Mr.  W.  chose  to  be  offended  by  a 
notice  of  it  in  the  Post.  He  wrote  the  editor  a  pep 
pery  note  which  received  a  severe  reply,  and  Mr. 
Barry,  the  manager,  in  a  pet,  stopped  his  paper,  adver 
tisements,  etc.  The  Post  gave  the  opera  a  hard  run 
for  this,  and  followed  Mr.  Barry  with  slaps.  When 
"  La  Sonnambula  "  appeared,  however,  all  came  round 


320  RECORD    OF    THE    BOSTON    STAGE. 

again  ;  the  public  and  the  Post  were  alike  delighted, 
and  both  the  Woods  recovered  their  former  popularity. 
The  opera  took  Boston  literally  by  storm,  and  the 
superb  acting  of  Mrs.  Wood,  in  close  of  act  second, 
with  her  brilliant,  electrifying  rush  over  their  senses  in 
"  Ah,  don 't  mingle,"  made  her  again  the  popular  idol. 
Wood's  presentment  of  "  Still  so  gently,"  has  seldom 
been  surpassed  even  by  Italian  singers  of  the  highest 
grade,  arid  in  the  concerted  pieces,  the  Woods  moved 
in  perfect  harmony.  Madame  Otto  did  good  service  in 
"  Lisa,"  and  Mr.  Brough  made  his  only  hit  in  the 
Count.  "  La  Sonnambula "  had  a  great  run,  that 
opera  and  "  Cinderella "  being  the  prime  favorites  of 
Boston  in  those  days. 

Mrs.  Wood  made  Amina  difficult  for  all  her  succes 
sors,  both  her  acting  and  singing  in  that  character 
satisfying  the  most  fastidious.  She  made  the  rondo 
finale  to  carry  a  vast  amount  of  most  brilliant  execu 
tion,  and  tasked  her  invention  for  new  difficulties  and 
truly  wonderful  vocal  feats. 

In  March,  1836,  another  engagement  was  played  at 
the  Tremont,  with  a  farewell  benefit,  on  the  17th,  in 
"  La  Sonnambula." 

Some  years  afterwards  the  Woods  revisited  Boston, 
when  it  was  found  that  his  voice  had  gained  in  volume 
and  certainty  during  the  interval,  and  hers,  on  the  con 
trary,  had  fallen  off  in  both  particulars.  Their  popu 
larity  had  been  affected  by  absence,  the  intervention  of 
many  other  wonders,  and  his  quarrels  with  the  press. 
Musicians  generally  and  singers  especially  are  by 
nature  and  the  force  of  habit,  very  sensitive,  and  the 
Woods  should  not  suffer  in  public  estimation  for  this 


RECORD    OF   THE    BOSTON    STAGE.  321 

foible  beyond  their  due  proportion  of  popular  indignation. 
A  reference  to  our  list  of  operas,  in  which  they  were 
distinguished,  is  sufficient  to  appease  their  incensed 
accusers,  leaving  their  gems  of  concert  performance  as 
most  delightful  remembrance.  Who  that  ever  heard 
Mrs.  Wood  in  "  We  Met,"  "  Savourneen  Deelish," 
"  I  've  been  Roaming,"  "  Should  he  Upbraid,"  «  Bid 
me  Discourse,"  "  Come  where  aspens  quiver,"  or  Mr. 
Wood  in  "  The  Soldier's  Tear,"  "  The  Sea,"  "  The 
Maid  of  Langoellen,"  "My  Love  is  like  the  red  red 
Rose,"  "  The  Angel's  Whisper,"  will  ever  forget  them  ? 
In  1840,  the  Woods  revisited  this  country,  but  he 
did  not  appear  on  the  first  night  of  the  opera  at  the 
Park  Theatre,  being  indisposed  to  encounter  hisses  and 
uproar,  on  account  of  his  feud  with  the  Courier  and 
Enquirer  critic.  Mrs.  Wood  had  a  good  reception,  and 
with  her  introduction  to  popularity,  Mr.  Wood  finally 
overcame  the  hostility  his  folly  had  provoked.  On  the 
7th  of  December,  1840,  the  Woods  re-appeared  in  this 
city  at  Tremont  Theatre,  in  the  favorite  "  La  Soimam- 
bula,"  with  Brough,  Andrews,  and  Mrs.  Smith,  for 
aids.  They  had  a  warm  greeting  from  old  friends  and 
enthusiastic  admirers.  For  the  first  week  good  houses 
were  attracted  by  the  old  spell,  and  the  charm  of  Mrs. 
Wood's  "  While  this  heart,"  and  "  Ah,  do  n't  mingle," 
with  his  "  Still  so  gently,"  appeared  to  have  lost  none 
of  its  power.  Brough,  however,  gave  a  chill  to  his 
friends,  by  the  falling  off  in  "  As  I  view  now."  Dur 
ing  this  engagement,  which  terminated  December  28th, 
"  The  Beggars'  Opera,"  "  The  Maid  of  Judah,"  «  Guy 
Mannering,"  «  Clari,"  "  The  Waterman,"  "  Love  in  a 
Village,"  "  The  Quaker,"  and  "  Cinderella"  were  pre- 
21 


322  RECORD    OF    THE    BOSTON    STAGE. 

sented,  the  latter  having  a  good  run.  In  the  music  of 
u  Ivanhoe,"  Mr.  Wood  gave  convincing  proof  that  his 
voice  had  wonderfully  improved  both  in  power  and 
firm  attack  of  those  notes  above  the  staff,  which  formerly 
gave  him  not  a  little  annoyance  to  seize  upon  and  hold, 
as  might  have  been  expected  from  an  organ  partaking 
of  the  baritone  and  tenor.  It  has  been  made  a  seri 
ous  complaint  against  this  singer  that  he  strained  too 
evidently  upon  B  flat  in  alt,  especially  in  the  great  solo 
from  "  La  Sonnambula."  A  reference  to  subsequent 
examples  of  pure  or  high  tenor  voices  even  contraltino, 
would,  however,  find  the  same  defect,  and  too  frequent 
resort  to  falsetto  on  such  ticklish  passages.  In  the 
song,  "When  the  trump  of  fame,"  made  Ivanhoe's 
great  solo,  Mr.  Wood's  improvement  was  brilliantly 
manifested  as  the  sudden  rise  upon  the  words  "  Red 
with  gore,"  had  at  his  former  visit  not  unfrequently 
baulked  him.  Now  that  and  other  difficulties  were 
taken  with  electrical  power  and  gracing  ease,  bringing 
down  the  house  in  shouts  of  applause  for  such  feats  of 
skill  and  thrilling  force  in  alt.  The  concert  perform 
ances  of  this  gifted  pair  did  not  renew  that  excitement 
of  the  old  time  when  the  Masonic  Temple  was  crowded 
every  Saturday  evening  with  the  elite  of  Boston  and 
its  suburbs,  and  four  encores  for  one  song  attested  the 
hold  of  his  public  Joseph  Wood  then  enjoyed.  But 
two  concerts  were  attempted  during  his  last  visit  — 
both  given  after  the  close  of  the  operatic  engagement. 
The  Boston  Post  says  of  the  last,  that  some  two 
hundred  persons  only  attended.  The  entertainment 
was  better  than  the  first,  and  Mr.  Wood  did  not  appear 
so  poorly.  It  concludes  a  list  of  causes  for  this  small 


RECORD    OF    THE    BOSTON    STAGE.  323 

attendance  by  saying,  "  This  is  a  fickle  world."  Two 
causes  beside  the  want  of  novelty,  and  Mr.  Wood's 
quarrelling  with  critics  had  a  powerful  influence  against 
them.  Caradori  had  many  determined  advocates,  who, 
in  1834,  were  sorely  grieved  with  opposition  by  the 
Wood  clique,  and  now  repaid  their  debt  of  injury. 
The  other,  and  perhaps  the  most  potent  of  all,  was 
found  in  the  distress  which  prevailed  during  1840,  the 
year  of  hard  cider  and  log  cabins,  retrenchment  of  ex 
penditure,  and  violent  absorbing  political  excitement. 


CHAPTER   XXII. 

Joseph  Wood.  —  His  Sudden  Rise  and  the  Cause.  —  James  G.  Mae- 
der.  —  Anecdotes.  —  Receipts  of  the  First  Boston  Engagement.  — 
The  Kembles.  —  Mr.  Barry's  Second  Season.  —  Park  Benjamin's 
Address.  —  The  Appearance  of  J.  Sheridan  Knowles.  —  Charles 
Mathews,  etc. 

THE  sudden  rise  of  Joseph  Wood,  to  whom  we 
alluded  in  the  last  chapter,  to  a  firm  position  among 
tenor  singers  of  the  first  rank  in  English  opera  and 
ballads,  surprised  all  his  cotemporaries  in  the  musical 
world,  and  fairly  astonished  the  public.  With  the  Eng 
lish  version  of  Rossini's  "  Cenerentola,"  he  bounded 
into  fame,  and  the  certainty  of  that  wealth  he  speedily 
realized.  In  connection  with  the  performance  of 
"  Cinderella  "  in  English,  and  the  commencement  of  Mr. 


324  RECORD    OF    THE    BOSTON    STAGE. 

Wood's  career,  this  narration  of  facts  came  from  one 
intimately  acquainted  with  its  hero. 

While  the  adaptation  yet  remained  in  the  hands  of 
its  getters  up,  and  expectation  was  highly  excited  for  a 
new  proof  that  Mrs.  Wood's  voice  and  brilliant  execu 
tion  of  the  most  difficult  music  had  close  affinity  to  per 
fection  ;  a  difficulty  in  regard  to  a  tenor  fit  to  enact  the 
Prince  and  execute  the  music  in  a  style  worthy  a  com 
parison  with  the  heroine,  threatened  ruin  to  a  hopeful 
speculation. 

Mr.  Wood  had  no  place  in  the  list  of  candidates,  and 
no  one  was  deemed  available  by  those  interested.  The 
sagacity  and  keen  appreciation  t>f  J.  G.  Maeder  made 
the  operatic  spectacle  a  harvest  of  gold,  and  crowned 
Joseph  Wood  in  the  Prince  with  laurels  fresh  and  fair. 
While  conversing  in  the  green  room  about  the  all  im 
portant  tenor,  Meader  informed  Mr.  Wood  that  he  pos 
sessed  a  fine  voice  and  might  accomplish  the  part  if  he 
would  but  try.  Wood  laughed  heartily  at  the  joke,  but 
Meader  insisted  upon  a  trial  and  finally  got  Wood  to 
work,  he  being  the  accompanist  with  the  piano-forte. 
With  so  good  a  teacher,  rapid  progress  in  the  art  of 
singing  was  obtained,  and  ere  many  days  had  elapsed. 
Wood  himself  began  to  think  Maeder's  jest  and  quiz 
might  prove  a  most  pleasant  reality.  After  drilling  his 
pupil  in  the  music  allotted  the  Prince,  Mr.  Maeder 
determined  to  introduce  a  song,  which  could  not  fail  to 
excite  a  sensation  when  given  by  such  a  voice  as  Mr. 
Wood's  rehearsals  proved  him  possessed  of.  "  Can  I 
my  love  resign,"  gave  eclat  to  "  Cinderella  "  and  from 
the  first  hearing  to  its  last,  that  bravura  invariably 
thrilled  and  delighted  the  audience.  The  opera  was 


RECORD    OF   THE    BOSTON    STAGE.  325 

decidedly  successful  on  the  opening  night,  and  Mr. 
Wood  amply  justified  his  training.  He  was  enthusias 
tically  applauded  throughout,  and  the  introduced  song 
brought  down  the  house.  It  was  encored  with  frantic 
shouts  of  joy  over  a  new  found  treasure,  and  from  that 
moment  Joseph  Wood  became  a  celebrity.  Previously 
she  alone  engrossed  popular  regard,  now  their  united 
attention  swept  all  before  it,  and  when  to  America  they 
came,  all  other  musical  stars  were  at  once  eclipsed,  if 
not  extinguished. 

Unfortunately  for  Wood,  he  was  unable  to  sustain 
this  unexpected  success  with  dignity  and  quiet  self- 
possession,  but  undermined  his  popularity  by  frequent 
squabbles  with  editors  and  critics,  and  damaged  the 
"Woods,"  by  apparently  sharp  dealings,  with  those 
who  assisted  in  their  great  triumphs.  His  shrewdness 
and  promptitude  in  money  matters  were,  it  is  said,  fully 
exemplified  at  the  moment  of  his  departure  from  this 
country.  Like  many  other  Englishmen,  the  strong 
temptation  of  eight  per  cent,  annual  dividend  enticed 
Wood  into  United  States  Bank  investments,  and  entire 
belief  in  the  solvency  of  that  institution.  He  became  a 
large  stockholder,  and  deposited  his  surplus  earnings 
there  for  safe  keeping.  Just  before  it  failed  he  obtained 
some  knowledge  of  coming  events,  withdrew  his  deposit 
and  embarked  for  England  in  the  first  packet  which  sailed 
after  the  bank  stopped  payment.  The  ship  was  detained 
in  the  Irish  Channel  by  adverse  winds,  and  Mr.  Wood 
hired  a  boat  to  put  himself  and  family  on  shore  at 
Milford,  Haven.  From  thence  he  took  post  to  London, 
and,  being  a  day  or  two  in  advance  of  the  disastrous  in 
telligence,  succeeded  in  running  off  all  his  United  States 


326  RECORD    OF   THE    BOSTON    STAGE. 

Bank  stock  at  saving  prices.  When  the  news  tran 
spired  a  great  fall  immediately  ensued,  and  some  news 
papers  assailed  Wood  for  this  Yankee  trick,  done  by  a 
keen  Yorkshireman.  A  denial  was  somewhat  feebly 
made  by  his  friends,  but  the  world  believed  the  whole 
story  and  laughed  heartily  at  Wood's  activity  in  the 
preservation  of  property  accumulated  with  so  much  ease. 

The  Woods  soon  after  returned  to  England,  and,  in 
1843,  she  went  into  a  convent,  he  to  a  farm  near  York. 
A  year  or  two  since  she  emerged  from  obscurity  to 
astonish  Dublin  with  the  brilliancy  of  her  execution  in 
the  old  list  of  operas,  but  Mr.  Wood  held  fast  to  his 
new  profession  and  the  enjoyment  of  a  hard-earned 
competence. 

The  receipts  of  the  Woods'  first  engagement  in  Bos 
ton  were  as  follows  :  — 

1833.  Dec.  4th,  Cinderella,           ....  $687  25 

«  "  6th,              "                590  75 

"  "  9th,  Guy  Mannering,          ...  608  25 

"  "  10th,  Cinderella, 558  50 

"  "  12th,  Barber  of  Seville,       ...  564  50 

"  "  13th,  Love  in  a  Village,  .        .        .        .  330  25 

"  "  16th,  Barber  of  Seville,  and  Waterman,  823  50 

"  "  17th,  Barber  of  Seville,  and  Waterman,  439  50 

"  "  19th,  Der  Freischutz,       .        .        .        .  623  00 

"  "  20th,  Barber  of  Seville,  and  Waterman,  414  75 

"  "  23d,  Der  Freischutz,      .        .        .        .  657  25 

"  "  24th,  The  Devil's  Bridge,  ...  739  75 

"  "  26th,  Masaniello, 511  25 

"  "  27th,  The  Devil's  Bridge,   .        .        .  t  452  50 

"  "  30th,  Massaniello, 492  50 

"  "  31st,  Cinderella,.        .        .        .      ;*$$  35525 

1834.  Jan.   2d,  Barber  of  Seville,  .        .        •        .  379  50 
"  "  3d,  Drama  and  2d  Act  Masaniello,  .  354  50 
"  "  4th,  Marriage  of  Figaro,  and  Clari,     .  811  75 

$10,394  50 


RECORD    OF   THE    BOSTON    STAGE.  327 

We  have  heard  many  anecdotes  of  Mrs.  Wood,  and 
the  following  we  find  floating  round  the  newspapers. 
We  do  not  vouch  for  its  accuracy:  — 

"A  general,  living  in  the  neighborhood  of  Philadel 
phia,  who  had  become  suddenly  rich,  furnished  a  house 
in  a  costly  manner,  and  gave  gay  parties.  He  had 
little  else  but  his  wealth,  however,  to  render  them 
attractive  ;  his  wife,  being  especially  untutored  and  un 
polished,  as  he  had  married  before  he  became  rich,  and 
both  were  elevated  to  their  present  importance  without 
the  requisite  personal  qualifications  to  sustain  it.  To 
render  one  of  their  parties  more  than  usually  popular, 
they  invited  Mr.  and  Mrs.  Wood  among  their  guests. 
These  at  first  respectfully  declined,  on  the  ground  of 
fatigue ;  but  they  were  pressed  with  so  much  earnest 
ness,  that  they  at  length  were  subdued  into  consent. 
When  the  entertainments  of  the  evening  were  fairly 
commenced,  and  several  ladies  among  the  visitors  had 
sung,  the  hostess  invited  Mrs.  Wood  to  seat  herself  at 
the  piano,  as  the  company  would  be  delighted  to  hear 
her  beautiful  voice  ;  but  Mrs.  Wood  begged,  with  a 
very  serious  countenance,  to  be  excused.  At  first,  the 
astonishment  created  by  this  refusal  was  evinced  by  a 
dead  silence,  and  a  fixed  stare ;  but  at  length,  the  dis 
appointed  hostess  broke  forth : 

"  '  What !  not  sing !  Mrs.  Wood  ;  why,  it  was  for  this 
that  I  invited  you  to  my  party.  I  should  not  have 
thought  of  asking  you  but  for  this ;  and  I  told  all  my 
guests  that  you  were  coming,  and  that  they  would  hear 
you  sing ! ' 

"  '  Oh  ! '  replied  Mrs.  Wood,  with  great  readiness, 
1  that  quite  alters  the  case  ;  I  was  not  at  all  aware  of  this, 


328  RECORD    OF    THE    BOSTON    STAGE. 

or  I  should  not  have  refused  ;  but  since  you  have  invited 
me  professionally,  I  shall  of  course  sing  immediately  ! ' 

"'  That's  a  good  creature  ! '  rejoined  the  hostess,  *  I 
thought  you  could  not  persist  in  refusing  me.' 

"  So  Mrs.  Wood  seated  herself  at  the  piano,  sang 
delightfully,  and,  to  the  entire  gratification  of  hostess 
and  guests,  gave,  without  hesitation,  every  song  she  was 
asked  for,  and  some  were  encored.  On  the  following 
day,  however,  when  the  host  and  hostess  were  counting 
up  the  cost  of  their  entertainment,  (for,  rich  as  they 
were,  they  had  not  lost  their  former  regard  for  economy,) 
to  their  utter  consternation  there  came  in  from  Mr. 
Wood  a  bill  of  two  hundred  dollars  for  Mrs.  Wood's 
1  professional  services '  at  the  party  of  the  preceding 
evening,  accompanied  by  a  note,  couched  in  terms  which 
made  it  quite  certain  that  the  demand  would  be  legally 
enforced  if  attempted  to  be  resisted ;  and,  however 
much  the  'general'  and  his  '  lady '  were  mortified  by 
this  unexpected  demand,  they  deemed  it  most  prudent 
to  pay  it  and  hold  their  tongues." 

There  is  a  reminiscence  connected  with  the  first  pro 
duction  of  La  Sonnambula  in  this  city,  on  the  28th  of 
December,  1835,  which  is  amusing.  On  their  return 
the  Woods  did  not  make  that  immediate  sensation  in 
Boston  that  they  anticipated  from  their  previous  success. 
The  New  York  papers  had  been  extremely  laudatory 
of  "  La  Sonnambula,"  and  for  that  the  Bostonians  were 
reserving  their  dollars.  Its  production  was  not  intended 
by  the  management,  and  it  was  only  the  result  of  cir 
cumstances,  that  it  was  brought  out  at  all.  The  houses 
were  very  poor,  considering  the  attraction,  and  Mr. 
Barry  was  at  a  loss  to  account  for  it,  while  the  Woods 


RECORD    OF    THE    BOSTON    STAGE.  329 

were  chagrined  at  their  lack  of  popularity.  The  matter 
was  discussed  on  the  stage  one  day,  when  Mr.  Comer 
suggested  the  propriety  of  bringing  out  "  La  Sonnam- 
bula."  Mr.  Barry  listened  to  the  proposition  ;  but  Mr. 
Wood  declared  that  it  could  not  be  done  under  four  or 
five  weeks,  and  about  twenty  rehearsals  would  be  re 
quired.  "  I  will  guarantee,"  continued  Mr.  Comer,  "  to 
produce  it  in  a  fortnight  from  Monday."  "  Impossible," 
said  Jo  Wood,  "  for  this  is  Friday."  Mr.  Barry  looked 
upon  Mr.  Comer  as  if  he  doubted  the  possibility  of 
bringing  out  an  opera,  which  was  entirely  new  to  chorus 
and  orchestra,  while  Brough  appeared  to  consider  it 
impracticable.  After  dinner  that  day,  the  Woods  and 
Barry  talked  the  matter  over.  Those  troublesome 
members  of  society,  yclept  editors,  were  asking,  "  When 
are  we  to  have  i  La  Sonnambula? '  "  and  the  public  re 
echoed  the  query.  "  I  wish,"  said  Wood,  looking  at 
his  glass  of  rich  burgundy,  as  he  held  it  up,  "that 
Comer  could  accomplish  what  he  proposes."  "  I  have 
no  doubt,"  rejoined  Barry,  "  that  if  he  undertakes  it,  it 
will  be  done  within  the  time  specified."  "  Do  you  really 
think  it  possible ? "  asked  Mrs.  Wood ;  —  "it  would  be 
a  great  feat  to  bring  it  out  in  that  time."  Mr.  Barry 
confessed  he  was  startled  when  Mr.  Comer  first  pro 
posed  it,  but  since  he  gave  it  thought  he  believed  it 
might  be  done.  "  Let  us  send  for  Comer,  then,"  said 
Mr.  Wood,  who  rung  the  bell,  and  despatched  the  ser 
vant  with  a  note.  Mr.  Comer  was  soon  in  the  presence 
of  the  trio,  who  inundated  him  with  interrogatories,  and 
presented  to  him  an  entire  chaos  of  objections.  "  All  I 
ask,"  said  Mr.  Comer,  "  to  carry  this  to  a  successful 
termination,  is  entire  liberty  to  do  just  as  I  please, 


330  RECORD    OF    THE    BOSTON    STAGE. 

without  dictation  or  interference  ;  on  Monday  fortnight 
I  guarantee  a  performance  of  La  Sonnambula  which 
shall  be  creditable  to  all  concerned." 

"  What  say,  Barry  ?  "  asked  Wood. 

"  I  think  it  is  best  to  let  Mr.  Comer  proceed." 

"  Well  then,  Comer,  we  are  all  of  one  opinion ;  go 
ahead,  you  have  carte  blanche" 

Comer  declined  remaining,  and  on  taking  the  piano 
forte  score  observed  that  it  would  have  to  be  separated, 
and  given  to  copyists,  to  which  they  gave  consent ;  and 
before  the  next  morning  at  10  o'clock,  the  scriveners, 
by  aid  of  the  midnight  lamp,  had  six  copies  made.  The 
chorus  were  summoned,  and  informed  of  what  had  been 
undertaken.  Mr.  Oliver  thought  it  a  hazardous  job, 
but  joined  heart  and  voice  in  the  attempt,  and  was  sup 
ported  by  Capt.  Sam.  Adams  and  the  other  choristers. 
The  saloon  of  the  theatre  was  occupied  by  Mr.  Comer, 
drilling  the  chorus  ;  the  greenroom  by  Ostinelli,  with 
the  orchestra,  and  the  progress  was  wonderful.  The 
chorus  in  six  days  had  acquired  a  knowledge  of  several 
choruses,  and  they  were  finally  approaching  perfection, 
when  Brough  and  Wood  came  in,  and  the  former  was 
very  desirous  to  try  his  songs  with  the  chorus.  This 
Mr.  Comer  declined  doing,  alleging  that  the  time  occu 
pied  in  going  over  his  role  might  enable  the  choruses  to 
rehearse  their  parts  at  least  half  a  dozen  times.  The 
gentlemen  took  the  hint,  and  did  not  again  interfere. 
The  time  approached,  and  Mr.  Comer  redoubled  his 
efforts  ;  and  when  ready  for  a  full  rehearsal,  Mrs.  Wood 
for  the  first  time  made  her  appearance,  and  Avas  aston 
ished  at  the  perfection  of  the  whole.  The  last  rehearsal 
was  had,  when  Mrs.  Wood  suggested  that  so  long  as 


RECORD    OF    THE    BOSTON    STAGE.  331 

Mr.  Comer  was  there  to  direct  and  lead,  it  might  do, 
but  expressed  a  fear  that  on  the  night  of  performance 
the  chorus  might  not  be  so  au  fait  in  taking  up  the 
answers.  Mr.  Comer,  however,  had  foreseen  this  diffi 
culty  ;  and  to  guard  against  it,  he  appeared  on  the  first 
night  of  "  La  Sonnambula  "  as  a  peasant,  and  by  con 
stant  action  and  attention,  he  brought  the  chorus  up  to 
the  work,  and  contributed  materially  to  the  success  of 
the  piece. 

The  receipts  previous  to  the  production  of  this  piece 
had  fallen  as  low  as  two  hundred  dollars  per  night,  the 
week  but  one  preceding  netting  only  $1,626.75.  The 
receipts  of  La  Sonnambula  were  as  follows  :  — 

1835.  Dec.  28,  La  Sonnambula,        .        .        .     $648  25 

29,  "  ".'...  685  25 

30,  "  '•             ....  720  50 
"    31,  "  699  00 

1836.  Jan.     1,  "  "            ....  814  25 

"4,  "  "  740  75 

"5,  "  "  ....  666  50. 

"6,  "  "  654  00 

"7,  "  "  ....  716  25 

"8,  "  "  .         .         .        .  782  25 

"11,  "  "  Tickets  at  auction,  820  00 


$7,947  00 

One  might  suppose  that  such  energy  on  Mr.  Comer's 
part  would  have  met  with  some  appreciating  mark  of 
respect ;  and  so  it  did,  for  the  next  day  Mrs.  Wood 
pressed  his  hand,  and  left  in  the  palm  a  small  package. 
On  opening  it  a  small  silver  snuffbox  was  found,  bear 
ing  a  suitable  inscription.  Of  the  real  value  of  the  box 
some  idea  may  be  gleaned,  when  we  state  that  the 
recipient  at  once  regaled  the  orchestra  and  choristers  ; 


332  RECORD    OF    THE    BOSTON    STAGE. 

and  on  affording  them  an  opportunity  to  drink  the 
health,  prosperity,  and  generosity  of  the  donors,  in  a 
temperate  manner,  expended  about  four  times  its  value. 
In  justice  to  the  manager,  Mr.  Thomas  Barry,  be  it 
said,  he  fully  appreciated  the  efforts  of  Mr.  Comer,  and 
presented  him  with  a  very  handsome  and  appropriate 
silver  goblet.  The  first  production  of  "  Fra  Diavolo  " 
by  the  Woods  in  this  city,  in  1834,  was  also  noted  by  a 
miniature  row.  Previous  to  the  arrival  of  the  Woods, 
Mr.  Barry  intimated  to  Mr.  Comer,  that  he  had  just 
received  the  piano  forte  score  from  them  of  the  opera  of 
"  Fra  Diavolo,"  and  that  the  part  of  Lorenzo  must  be 
assigned  to  Mr.  Thomas  Walton,  who  had  been  singing 
with  the  Woods  in  New  York,  giving  as  their  reason 
that  Mr.  Thomas  Williamson,  then  a  popular  vocalist, 
and  a  member  of  the  Tremont  company,  was  incom 
petent  to  sustain  the  part.  Mrs.  Wood  also  hinted  that 
the  facial  features  of  Mr.  Williamson,  who  unfortu 
nately  had  damaged  his  nose,  were  objectionable.  Mr. 
Barry  asked  Mr.  Comer  his  opinion  of  Mr.  Williamson's 
ability  to  do  justice  to  the  part,  and  having  received 
assurance  of  his  qualifications,  gave  him  orders  to  re 
hearse  the  songs.  The  Woods  came,  and  with  them 
Mr.  Walton,  who  rehearsed  Lorenzo,  the  Woods  having 
made  up  their  minds  to  have  him  in  the  opera  at  any 
rate ;  but  they  found,  on  the  rising  of  the  curtain,  that 
vox  populi  is  more  potent  than  the  arbitrary  will  of 
vocalists,  for  Mr.  Williamson's  friends  had  assembled 
in  great  numbers.  The  overture  was  played,  and  the 
curtain  rose  ;  but  no  sooner  did  the  multitude  behold 
Walton  as  Lorenzo,  than  shouts  of  disapprobation  com 
menced.  He  attempted  to  speak,  but  it  was  useless. 


RECORD    OF    THE    BOSTON    STAGE.  333 

Mrs.  Wood  appeared,  but  the  uproar  continued.  Mr. 
Barry  came  forward  to  explain,  and  was  heard,  but  not 
to  the  satisfaction  of  the  audience,  and  many  were  an 
ticipating  a  riot,  when  Williamson  was  discovered  in 
the  second  tier  of  boxes.  The  uproar  increased,  when 
an  "  unknown  voice  "  shouted,  —  "  Tom,  go  and  put  on 
your  flannels  !  "  Mr.  Williamson  retired,  and  in  a  few 
minutes  it  was  announced  that  the  part  of  Lorenzo 
would  be  sustained  by  Mr.  Williamson.  The  opera  re 
commenced,  Mr.  W.  appeared  as  Lorenzo,  and  the 
performances  closed  amid  great  applause. 

The  Kembles  appeared  several  times  this  season. 
Mr.  Barry  aimed  at  making  the  drama  attractive,  and 
to  lift  it  to  a  moral  standard  ;  and  with  these  views  he 
procured  all  the  available  stars  of  the  day,  and  at  the 
close  of  his  first  season,  received  from  the  press  and  the 
public  the  greatest  praise  for  his  efforts.  Aside  from 
the  stars  enumerated,  Mr.  and  Mrs.  Barrett  returned, 
and  appeared  in  "  School  for  Scandal,"  etc. 

The  second  season  of  Mr.  Barry's  management,  that 
of  1834-5,  commenced  on  the  1st  of  September,  with 
but  little  change  in  the  company.  Mr.  John  Gilbert, 
Mr.  and  Mrs.  Barrett  were  added  to  it. 

The  stars  were  Clara  Fisher,  C.  H.  Eaton,  J.  Sher 
idan  Knowles,  Booth,  Yankee  Hill,  Cooper,  Mrs.  Aus 
tin,  Miss  Phillips,  Mr.  J.  Wallack,  Fanny  Jarman, 
Celeste,  Miss  Watson,  Emma  Wheatley,  A.  A.  Adams, 
—  a  galaxy  indeed  ! 

The  opening  plays  were,  "  Every  one  has  his  Fault," 
and  the  "  Bold  Dragoons  ;"  the  receipts  were  $515.50. 
A  poetical  address,  written  by  Park  Benjamin,  was 
spoken  by  Mrs.  Barrett.  If  we  except  Mr.  Sprague 


334  RECORD    OF    THE    BOSTON    STAGE. 

Mr.  Benjamin's  productions,  on  such  occasions,  are  pre 
eminently  worthy  of  attention.  Though  written  for  a 
special  purpose,  and  consequently  limited  somewhat  in 
their  interest,  they  possess  merit  sufficient  to  command 
the  attention  of  every  lover  of  poetry.  There  is  in  the 
following  several  excellent  ideas  clothed  in  words  which 
are  most  musical  to  the  ear  :  — 

ADDRESS, 

Spoken  by  Mrs.  Barrett,  on  the  opening  of  the  Tremont  Theatre,  on 
the  night  of  her  return  to  the  Boston  Stage. 

BY   PARK   BEXJAMIN,   ESQ. 

When  o'er  the  waste  of  waves  some  wanderer  roams 
From  his  own  country's  free  and  happy  homes  — 
His  native  land  just  blending  with  the  sky  — 
What  tears  of  sorrow  dim  his  straining  eye ! 
But  when  returned,  these  happy  homes  appear, 
And  every  prospect,  to  his  bosom  dear, 
Unchanged  in  beauty,  rises  to  his  sight, 
How,  like  a  fountain,  springs  his  new  delight ! 
So,  for  awhile,  when  forced  to  bid  adieu 
To  much-loved  scenes,  and,  ah !  sweet  friends  to  you, 
Sad  were  my  thoughts  —  but  now,  when  I  behold 
Your  welcome  smiles  and  hear  your  welcome  told 
In  language  long  familiar  to  my  heart,  — 
The  woman,  not  the  actress,  plays  her  part. 

To-night,  the  drama  from  her  brief  repose 
Wakes  into  life,  with  purer  radiance  glows, 
And,  onward  led  by  your  approving  hands, 
Like  some  bright  Goddess  in  her  temple  stands. 
Here  is  her  shrine  and  here  her  votaries  throng, 
To  tell  her  glories  in  their  choral  song. 
Here  Painting,  Music,  Poetry  combine 
Their  votive  wreaths  to  make  her  half  divine. 
Lo !  where  dark  Tragedy  sweeps  proudly  by, 
Darts  the  swift  lightning  from  her  clouded  eye, 
Shows  the  red  dagger  and  the  poisoned  bowl 
And  turns  to  ice  the  currents  of  the  soul. 


RECORD    OF    THE   BOSTON    STAGE.  335 

Ha !  ha !  see  where  old  Comedy  derides 
His  solemn  sister  —  how  he  shakes  his  sides! 
A  different  knife  and  bowl  he  loves  to  keep, 
Calls  other  spirits  from  the  vasty  deep, 
And  slyly  beckons,  with  a  knowing  glance, 
Mirth-making  music  to  lead  her  out  the  dance. 
Music !  ah,  who  of  all  I  see  around 
Loves  not  the  enchanting  harmony  of  sound  ? 
Last  in  the  train  comes  Painting,  clothed  in  light, 
To  show  the  beauty  of  the  world  at  night. 
When  darkness  rests  on  all  external  forms 
Her  mimic  splendor  every  object  warms, 
In  our  own  land  to  our  delighted  eyes 
Gleam  the  soft  colors  of  Italian  skies : 
Mountains  and  rivers,  palaces  and  towers, 
All,  at  her  magic  summons,  all  are  ours ! 

Cheered  by  her  smiles,  each  lovely  art  attends, 

On  you  it  calls  its  best  and  kindest  friends. 

For  you  the  Drama,  on  her  favorite  stage, 

Holds  up  her  faithful  mirror  to  the  age. 

Oh!  keep  it  bright!  that  here,  reflected  true, 

Her  hideous  features  Vice  may  shrink  to  view ; 

And,  Heaven-born  Virtue  here  may  ever  trace 

The  mild  reflection  of  her  angel  face. 

Your  voices,  then!  the  Drama's  power  proclaim, 

And  with  new  laurels  crown  the  Drama's  fame. 

On  the  13th  of  October,  1834,  J.  Sheridan  Knowles, 
the  author  of  many  of  our  popular  plays,  appeared  for 
the  first  time  in  Boston  as  Master  Walter,  in  his  own 
play  of  the  "  Hunchback."  Mr.  Knowles  was  received 
in  New  York  most  cordially ;  in  Philadelphia  he  had 
been  tendered  a  public  dinner,  and  these  facts,  with  the 
novelty  of  an  author  bodily  delineating  the  creatures 
of  his  imagination,  gave  a  zest  to  the  public  appetite. 
Few  authors,  we  may  remark  en  passant,  have  taken 
leading  parts  in  their  own  dramas.  Garrick  performed 
his  own  Lying  Varlet,  Macklin  was  great  as  Sir  Perti- 


336  RECORD    OF    THE    BOSTON    STAGE. 

nax  and  Sir  Archy,  and  Colley  Gibber  was  remarkable 
for  his  performances  in  the  "  Careless  Husband  "  and 
some  other  of  his  plays.  They  had  passed  from  the 
stage  before  Knowles  appeared.  Since  his  day,  there 
are  but  few  who  have  combined  the  qualities  of  play 
wright  and  actor.  Miss  Kemble,  Miss  Vandenhoff,  and 
Mrs.  Mowatt,  are  the  only  ones  of  modern  date,  who 
has  succeeded  in  this  duplicate  and  difficult  task. 

Mr.  Knowles  appeared  as  Master  Walter,  in  the 
"  Hunchback,"  to  George  Barrett's  Sir  Thomas  Clif 
ford,  Mrs.  Barrett's  Julia,  and  Mrs.  W.  H.  Smith's 
Helen ;  also,  in  "  William  Tell,"  "  Virginius,J'  "  The 
Wife,  or  a  Tale  of  Mantua,"  all  his  own  productions, 
and  in  "  Macbeth."  Mr.  Knowles,  (and  we  mention 
this  for  the  benefit  of  some  actors,  who  differ  in  their 
conception,)  communicated  a  very  different  impression 
of  Master  Walter,  from  what  the  younger  Kean  had 
done.  Instead  of  the  gruff,  morose  old  man,  Mr. 
Knowles  make  him  out  a  very  amiable  man,  plotting 
nothing  but  the  happiness  of  those  whom  he  best  loved. 
Virginius  was  deemed  his  best  impersonation,  but  in 
all  his  plays  he  developed  new  beauties,  and  brought 
out  points  which  had  escaped  the  notice  of  others.  Mr. 
Knowles  possessed  a  pleasant  voice,  dashed,  however, 
with  a  little  of  the  "  brogue  "  of  his  native  land.  On 
his  opening  night  he  was  called  out,  and  made  a  brief 
speech,  returning  thanks  for  his  enthusiastic  reception, 
and  closing  thus  —  "  The  least  said,  my  friends,  soonest 
mended  ;  if  I  try  to  say  any  thing  more  I  know  I  shall 
make  some  blunder — so  God  bless  you  !  "  Cheer  after 
cheer  was  given  for  Paddy  Knowles,  as  the  warm 
hearted  Irish  dramatist  loved  to  write  himself. 


RECORD    OF   THE   BOSTON    STAGE.  337 

The  receipts  of  Knowles'  nights,  Mr.  Booth  playing 
on  his  occasional  off  nights,  were :  — 

1834.  October  13th,  Hunchback,  .        .        .        .  $690  50 

"  "         14th,  William  Tell,      .        .        .        .  381  50 

"  "         15th,  Virginius,        .        .        .        .  357  50 

"  "         16th,  Hunchback,        .      •....•.  287  75 

17th,  The  Wife,        .        .        .        .  307  50 

"  «         20th,  Macbeth, 327  00 

"  "         22d,  Wm.  Tell,  (Benefit,)        .        .  663  00 

$2,923  25 

Mr.  Knowles  has,  of  late  years,  abandoned  his  old 
path  in  the  walks  of  literature,  and  having  joined  the 
Baptist  church,  is  now  devoting  all  his  energies  to  the 
propagation  of  the  gospel.  The  English  papers  lately 
recorded  his  delivering  an  address  on  religion,  and 
defying  any  Roman  Catholic  to  meet  him  in  open 
debate.  In  a  late  number  of  the  Home  Journal,  the 
following  paragraph  appeared :  — 

"  A  letter  received  by  the  last  steamer,  from  our  distinguished  and 
deeply-valued  friend  Knowles,  brought  freshly  to  mind  the  delightful 
hours  which  we  enjoyed  in  his  company  when,  fifteen  years  ago,  he 
was  a  temporary  resident  among  us.  Mr.  Knowles  is  now  in  the 
sixty-eighth  year  of  his  age,  the  fifty-fourth  of  his  authorship  —  he 
wrote  a  play  in  his  fourteenth  year  —  and  the  thirty-second  of  his 
fame;  for  it  was  the  triumphant  success  of  "  Virginius,"  in  1820, 
that  established  his  position  as  the  dramatist  of  his  time.  We  regret 
to  learn  that  Mr.  Knowles  has  not  escaped  the  infirmities  to  which 
his  advanced  age  exposes  him.  For  the  last  three  months  he  has 
been  a  severe  sufferer  from  an  attack  of  bronchitis,  and  has,  three 
times  in  the  same  period,  had  to  encounter  his  old  enemy,  the  gout. 
At  the  date  of  his  letter,  however,  he  was  slowly,  but  he  hoped, 
surely  recovering.  Our  friend  speaks  warmly  of  the  happy  period 
of  his  residence  in  this  country,  and  expresses  a  strong  desire  to 
renew  the  friendships  which  he  then  formed.  We  need  not  say  how 
22 


338  RECORD    OF    THE    BOSTON    STAGE. 

•  cordially  this  desire  is  reciprocated  by  ourselves,  and  by  all  who 
had  the  singular  happiness  of  an  acquaintance  with  him.  Two 
hemispheres  admire  his  genius ;  but  only  those  who  have  sat  with 
him  at  the  fireside  and  the  convivial  board,  in  unrestrained  and  oft- 
repeated  converse,  know  what  a  kindly,  generous,  and  noble  heart 
beats  in  the  bosom  of  James  Sheridan  Knowles.  May  he  live  long 
to  enjoy  the  honors  which  he  has  won,  and  the  leisure  which  his 
country  has  bestowed  upon  him !  " 

To  his  credit  be  it  said  that  Mr.  SHERIDAN 
KNOWLES,  on  his  return  from  the  United  States,  was 
offered  £2,000  by  a  London  bookseller,  for  an  abusive 
book  upon  America.  Mr.  Knowles  promptly  declined 
the  offer. 

Miss  Phillips,  from  London,  then  only  twenty-two 
years  of  age,  made  her  appearance  in  Boston  as  Juliet, 
to  J.  Wallack's  Romeo,  on  the  10th  of  November. 
Her  impersonation  of  this  character  was  pronounced 
in  New  York  fully  equal  to  any  thing  that  had  been 
seen,  but  the  Boston  critics  were  of  a  different  opinion. 
The  characters  represented  by  her  were  Belvidera, 
.Julia,  Mrs.  Holler,  etc. 

Mr.  Cooper  also  appeared  this  season,  and  Charles 
Mathews  arrived  in  town  and  commenced  an  engage 
ment  on  the  10th  of  December,  but  was  taken  sick  and 
for  many  days  confined  to  his  room.  He  was  able 
finally  to  re-appear,  and  took  his  farewell  benefit  —  a 
long  farewell  it  proved,  for  he  never  returned  ;  on  the 
5th  of  January,  1835,  when  he  gave  "  The  Youthful 
Days  of  Mr.  Mathews,"  and  "The  Lone  House."  The 
engagement  of  Mr.  Mathews  would  have  proved,  if 
he  had  not  been  taken  ill,  one  of  the  most  profitable  of 
the  season.  As  it  was  the  receipts  were  large  :  — 


RECORD    OF    THE    BOSTON    STAGE.  339 

1834.  Dec.  10th,  "  At  Home,"  and  Monsieur  Tonson,    .    $584  00 
"  "  22d,  2d  Vol.  Comic  Almanac,  and  Lone  House,   810  50 
"  "  24th,  Sketch  Book,  Before  Breakfast,      .        .    415  00 
"  "  26th,  Memorandum  Book,  Monsieur  Tonson,       308  75 
"  "  29th,  Poor  Gentleman,         .        .        .        .        361  75 
"  "  31st,  Comic  Annual,        .        .:       ....        .    20450 

1835.  Jan.  1st,  Before  Breakfast,  etc.,         .        .        .        30575 
"  "  5th,  Youthful  Day,  and  Lone  House,    .        .    553  75 

$3,544  00 


CHAPTER  XXIII. 

Fanny  Jarman.  —  F.  S.  Hill's  Prize  Poem.  —  Miss  Charlotte  Gush- 
man's  First  Appearance.  —  Miss  Watson.  —  Her  Intrigue  with 
Paganini.  —  Mr.  Harrington,  Professor  of  Ventriloquism.  —  The 
Old  Theatre.  —  The  Season  of  1835-36.  —  The  Veteran  Dowton.  — 
James  Murdock.  —  First  Appearance  of  Miss  Clifton.  —  Mr.  and 
Mrs.  Keeley.  —  Epes  Sargent's  "  Bride  of  Genoa."  — First  Appear 
ance  of  Ellen  Tree.  —  Lines  by  John  Q.  Adams.  —  Receipts.  — 
Leman,  Charlotte  Cushman,  etc. 

Miss  Fanny  Jarman  appeared  this  season,  (1834-5). 
She  had  been  very  well  received  at  New  York,  and 
chose  the  character  of  Julia,  in  the  "  Hunchback,"  for 
her  first  appearance  in  Boston,  on  the  9th  of  January, 
1835.  Her  husband,  (for  Miss  Jarman  was  married,) 
Mr.  Tiernan  played  Master  Walter  with  considerable 
discrimination,  though  the  chief  attraction  was  his  wife. 
With  a  person  tall  and  commanding,  Miss  Jarman  pos 
sessed  a  voice  of  much  sweetness  in  its  tones,  and  con- 


340  RECORD    OF    THE   BOSTON    STAGE. 

siderable  power.  Her  face,  was  comely  without  being 
striking,  and  with  actions  and  motions  graceful  and 
interesting,  she  proved  a  very  attractive  actress.  The 
houses  rarely  during  this  engagement  fell  below  $500, 
and  on  the  occasion  of  a  benefit,  when  the  "  Jealous 
Wife"  and  "Perfection"  were  performed,  there  was 
$910.25  in.  Mr.  and  Mrs.  Tiernan  subsequently  played 
several  engagements  in  this  city,  and  she  is  at  present 
in  London. 

Mr.  Smith,  at  his  benefit  this  year,  recited  F.  S. 
Hill's  prize  poem,  dedicated  to  the  Boston  Fire  Depart 
ment,  for  which  the  beneficiary  awarded  the  premium 
of  $50.  It  proved  very  attractive,  drawing  $646.50, 
and  has  frequently  been  recited  since.  Celeste,  during 
her  engagement,  brought  out  February  2,  1835,  the 
«  Wept  of  the  Wish  Ton  Wish ! "  which  drew  great 
houses.  On  the  occasion  of  her  benefit,  ($1,126,)  she 
delivered  an  address  to  her  Boston  friends.  At  the 
annual  benefit  ($716)  of  Mrs.  Smith,  her  sister,  Miss 
Eliza  Riddle  played  Julia,  in  the  "  Hunchback,"  to  Mrs. 
Smith's  Helen,  with  marked  success. 

Towards  the  close  of  the  season,  Mrs.  Maeder,  for 
merly  Miss  Clara  Fisher,  appeared  as  Paul  in  Buck- 
stone's  "  Pet  of  the  Petticoats,"  and  on  April  8th  Miss 
Charlotte  Cushman,  now  the  eminent  tragedienne,  made 
her  first  appearance  on  any  stage  as  the  Countess  in  the 
opera  of  "Marriage  of  Figaro,"  to  a  house  of  $363.75, 
Mrs.  Maeder  appearing  as  Susanna.  Miss  Cushman 
was  born  in  Boston,  and  her  first  appearance  in  public 
was  at  a  social  concert  given  in  this  city,  at  the  hall 
No.  1  Franklin  Avenue,  on  the  25th  of  March,  1830. 
Mr.  Farmer  presided  at  the  piano-forte,  and  Messrs- 


RECORD    OF    THE    BOSTON    STAGE.  341 

John  F.  Pray,  Stedman,  Morris,  Chase,  White,  Coupa, 
were  the  instrumental  performers.  During  Mrs.  Wood's 
engagement  in  this  city,  Miss  Cushman  sang  at  one  of 
her  concerts.  Mrs.  Wood,  pleased  with  her  voice,  which 
was  a  fine  contralto,  advised  her  to  turn  her  attention  to 
singing  on  the  stage,  and  Mr.  Maeder,  the  husband  of 
Clara  Fisher,  who  came  out  with  the  Woods,  brought 
her  out  in  the  Countess. 

On  the  13th  of  April,  Miss  Charlotte  Watson  made 
her  appearance  as  Mary  Copp,  in  "  Charles  II.,"  and 
as  Cherubina  in  the  "  Marriage  of  Figaro,"  supported 
by  Miss  Cushman  and  Mrs.  Maeder,  ($865).  Miss 
Watson  had  been  "  puffed "  to  a  very  extraordinary 
height  in  New  York,  but  she  proved  to  be  an  actress  in 
miniature,  and  very  pretty  singer  of  simple  music.  Her 
engagement  was  quite  brief.  The  desire  to  see  the 
lady  was*  considerably  increased,  from  the  fact  that  she 
had  been  the  heroine  of  a  runaway  affair,  with  no  less  a 
personage  than  the  celebrated  Paganini,  the  first  violin 
ist  in.  the  world,  who  had  given  concerts  in  connection 
with  Miss  Watson  at  various  places  in  England  and 
Scotland,  and  finally  made  overtures  of  marriage,  which 
she  accepted,  upon  the  conditions  imposed,  that  they 
were  to  proceed  to  Paris,  and  there  unbeknown  to  her 
father  the  marriage  was  to  take  place,  Paganini  stating 
it  was  important  that  this  should  be  done  in  order  to 
secure  her  a  settlement  at  his  banker's.  Paganini's 
plan  being  matured,  he,  under  pretence  of  ill  health,  set 
off  for  France,  accompanied  by  his  valet.  Miss  Watson, 
in  accordance  with  previous  arrangements,  the  following 
morning  repaired  to  Paganini's  attorney,  who  with  his 
wife  accompanied  her  to  Boulogne,  where  she  arrived, 


342       RECORD  OF  THE  BOSTON  STAGE. 

and  found  her — father!  who  it  appears  anticipating 
that  Paganini's  motives  were  not  honorable,  had,  on 
finding  his  daughter  absent,  immediately  started  in 
search.  Miss  Watson  flew  into  the  arms  of  her  father, 
and  returned  to  London.  What  Paganini's  intentions 
were,  was  a  matter  of  considerable  comment  in  the  beau 
monde.  It  is  said  that  after  her  arrival  in  this  country, 
he  sent  out  a  special  messenger,  who  stated  that  he  was 
authorized  to  assure  Miss  Watson  of  his  master's  honor 
able  intentions,  and  his  readiness  to  espouse  her,  offer 
ing  at  the  same  time  to  compensate  Mr.  Watson  for  the 
loss  of  his  daughter's  services,  and  to  indemnify  him  for 
his  own  professional  claims,  and  the  expenses  he  would 
incur  in  removing  with  his  family  and  accompanying 
her  to  Italy.  Mr.  Watson  would  not  treat  with  the 
ambassador  of  the  violinist,  and  declined  all  farther 
negotiation. 

Mr.  Knowles  played  a  second  engagement  this  season 
with  the  support  of  Miss  Emma  Wheatley. 

Mr.  A.  A.  Adams,  who  married  Miss  Mary  Duff, 
after  an  absence  of  five  years  returned,  and  appeared  at 
the  Tremont.  He  was  an  actor  of  great  merit,  but  his 
folly  led  him  to  indulge  in  dissipation,  and  he  lost  the 
position  he  had  within  his  grasp.  Mr.  and  Mrs.  W.  H. 
Smith  took  their  benefit  towards  the  close  of  the  season, 
when  Miss  Charlotte  Cushman  sang  "  Trifler  Forbear." 
Miss  Cushman  took  her  benefit  to  a  house  containing 
only  $258.00. 

In  the  summer  of  1834,  the  Federal  Street  was  open 
ed  by  Mr.  Harrington,  professor  of  ventriloquism  and 
natural  magic,  the  same  gentleman  who  still  continues 
to  appear  at  different  periods  of  the  year  in  this  and  the 


BECORD    OF   THE    BOSTON    STAGE.  343 

surrounding  cities,  making  short  excursions,  returning 
to  his  snug  and  quiet  home  at  North  Chelsea,  to  enjoy 
the  fruits  of  his  campaigns.  He  was  the  last,  we  be 
lieve,  who  appeared  at  the  old  theatre,  to  give  public 
entertainments  prior  to  its  being  converted  into  the 
Odeon,  under  which  name  it  was  inaugurated  on  the 
5th  of  August,  1835,  when  Hon.  S.  A.  Eliot  delivered 
an  address,  and  the  pupils  of  the  Boston  Academy  of 
Music  furnished  the  music. 

The  season  of  1835-6  commenced  on  the  17th  of 
August.  The  house  had  been  entirely  refitted,  a  new 
stage  built,  with  other  improvements.  The  artist,  Sam. 
Stock  well,  had  exerted  himself  to  render  the  interior  at 
once  chaste  and  beautiful,  and  so  well  did  he  succeed 
that  Mr.  Barry  presented  him  with  a  silver  pitcher,  as 
a  token  of  his  appreciation  of  the  artist's  services.  The 
opening  plays  were,  "  Much  Ado  about  Nothing,"  and 
"My  Neighbor's  Wife,"  ($499.25).  The  stars  this 
season  were  Celeste,  the  Woods,  Fanny  Jarman,  J.  H. 
Wallack,  John  Reeve,  J.  S.  Ball,  and  Dowton.  Mrs. 
Lewis  also  appeared  and  played  Richard,  Othello,  Shy- 
lock,  etc.  Mr.  John  Reeve,  the  "  Rascal  Jack,"  who 
loved  a  joke  to  such  an  extent,  that  in  washing  them 
down  his  throat,  he  finally  caused  his  death,  appeared 
and  performed  a  good  engagement.  On  the  night  of 
the  performance  of  "  Tom  and  Jerry,"  and  the  "  Unfin 
ished  Gentleman,"  there  was  $1064.50  in  the  house. 

The  great  feature  of  the  season,  however,  was  the 

appearance  of  the  veteran  Dowton,  who  made  his  first 

bow  to  a  Boston  audience  on  the   23d  of  June,  1836, 

and  during  his  engagement  played  Sir  Robert  Bramble, 

•  Sir  Anthony  Absolute,  Old  Dornton  in  the  "  Road  to 


344  RECORD    OF    THE    BOSTON    STAGE. 

Ruin,"  Sir  John  Falstaff,  Sir  George  Thunder  in  "  Wild 
Oats,"  Dr.  Cantwett  in  the  "Hypocrite,"  Sir  Peter 
Teazle,  Peter  Simpson  in  "  Simpson  &  Co.,"  and  Sir 
Matthew  Scraggs  in  the  "  Englishman  in  India." 

"  Old  Dowton  "  was  at  this  time  seventy -one  years 
of  age.  He  was  born  in  Exeter,  England,  in  1765,  and 
first  appeared  at  Drury  Lane  as  Sheva,  in  the  "  Jew," 
Oct.  10,  1793.  He  had  been  manager  of  several  the 
atres,  and,  though  quite  advanced  in  years,  was  still  a 
great  actor.  His  representations  of  choleric  humanity 
were  carried  to  the  summit  of  perfection.  A  critic  ob 
served  as  follows  of  Dowton  :  —  "  The  greatest  living 
comedian  out  of  the  direct  pale  of  gentility,  though  we 
by  no  means  mean  to  insinuate  that  he  is  vulgar,  is  Mr. 
Dowton.  He  can  smooth  over  a  natural  vehemence, 
indulge  himself  in  the  most  delightful  cordiality,  and  be 
carried  away  into  the  uttermost  transports  of  rage,  with 
equal  felicity."  Dowton  had  his  faults  on  the  stage, 
the  most  prominent  being  his  inclination  to  profanity, 
which  he  regretted  himself,  but  carried  away  in  a  part, 
and  being  a  person  of  impulse,  a  loud  oath  frequently 
escaped  his  lips.  Mr.  Dowton  did  not  draw  very  well. 
His  benefit,  however,  was  honored,  and  the  treasurer 
received  $1040.25 ;  but  his  houses  averaged  below 
$250. 

The  season  of  1836-7  commenced  on  the  8th  of 
August.  Kilner,  Mr.  and  Mrs.  Barrett,  Mr.  and  Mrs. 
Gilbert,  were  the  leading  actors  ;  Smith,  Comer,  John 
son,  etc.,  having  very  injudiciously  been  allowed  to  leave 
for  the  National  Theatre.  The  opening  play  was, 
"  Speed  the  Plough,"  and  Mr.  James  Murdock,  now 
the  star  tragedian  and  excellent  elocutionist,  made  his 


RECORD    OF    THE    BOSTON    STAGE.  345 

first  appearance  in  Boston  as  Henry.  The  public  soon 
discovered  the  merits  of  this  excellent  actor,  and  he 
became  at  once  very  popular. 

The  stars  this  season  included  Celeste,  Finn,  Mr. 
and  Mrs.  Watson,  Mrs.  Bailey,  J.  S.  Balls,  Josephine 
Clifton,  Dowton,  Mr.  Plurnmer,  Fanny  Jarman,  Ellen 
Tree,  Mr.  and  Mrs.  Keeley,  Power,  Racket,  Mr.  and 
Mrs.  Barnes,  etc. 

Miss  Clifton  appeared  on  the  3d  of  October,  1836, 
as  Bianca,  in  Fazio,  for  the  first  time  in  Boston.  She 
had  appeared  in  New  York,  and  had  made  a  trip  across 
the  water  before  the  Bostonians  had  an  opportunity  of 
judging  of  her  merits.  She  came,  therefore,  with  a 
great  reputation.  Fanny  Kernble,  it  was  supposed,  had 
monopolized  the  parts  in  which  Miss  Clifton  appeared, 
but  the  Bostonians,  while  admitting  the  superiority  of 
the  former,  paid  homage  to  their  countrywoman.  With 
a  majesty  of  mien,  unsurpassed  by  any  actress,  she  pre 
sented  the  varied  passions  of  the  tragic  scene  in  a  man 
ner  which  commanded  respect  and  challenged  admira 
tion.  Her  Bianco,  many  recall  with  great  pleasure,  as 
one  of  those  theatrical  portraitures  which  hang  upon 
memory's  walls,  as  vivid  to  the  mental  eye  as  when 
first  beholden.  Miss  Clifton  married  Mr.  Place,  of 
New  Orleans,  and  died  several  years  ago. 

Mr.  and  Mrs.  Keeley  commenced  their  first  Boston 
engagement  on  the  7th  of  November,  in  the  drama  of 
"  Lucille,  or  the  Story  of  a  Heart."  We  need  not  allude 
to  their  merits,  or  to  their  position  in  the  profession. 
Their  light  has  shone  in  two  hemispheres,  and  still 
burns  brightly  in  London. 

Mr.  Barry  brought  out  this  year,  at  a  great  expense, 


346  RECORD    OF    THE    BOSTON    STAGE. 

"  The  Massacre,  or  the  Malay's  Revenge,"  a  spectacle, 
or  rather  a  historical  drama,  from  the  pen  of  George 
Colman,  the  younger.  Messrs.  Gilbert,  Hield,  Murdock, 
Leman,  Muzzy,  Andrews,  Bayne,  Addams,  Curtis, 
Sarzedas,  Houpt,  with  Mrs.  Barrett,  Mrs.  Hield,  Miss 
A.  Fisher,  and  Miss  McBride,  sustained  the  different 
parts.  It  did  not  prove  very  attractive,  though  its  per 
formance  on  Thanksgiving  evening  attracted  a  $978.25 
house. 

On  the  occasion  of  Miss  Clifton's  second  engagement, 
she  brought  out,  February  13,  1837,  Epes  Sargent's 
five  act  play  called  "The  Bride  of  Genoa,"  ($772.25). 
Miss  Clifton  played  Montaldo,  a  young  Genevese,  and 
Mrs.  Richardson  Laura.  The  play  proved  attractive, 
and  reflected  great  credit  not  only  upon  Miss  Clifton, 
but  upon  the  author.  This,  we  believe,  was  among  the 
earliest  dramatic  productions  of  Mr.  Sargent,  who  in 
this  piece  and  in  "  Velasco,"  gave  promise  of  becoming 
one  of  the  first  dramatic  poets  of  the  age.  Had  he  con 
tinued  to  pursue  this  branch  of  literature,  we  should  not 
now  be  so  dependent  upon  foreign  productions.  The 
"  Bride  of  Genoa "  was  played  four  nights,  and  was 
pronounced  by  competent  critics  "  a  signal  dramatic 
triumph." 

On  the  20th  of  February,  1837,  Miss  Ellen  Tree, 
now  Mrs.  Charles  Kean,  appeared  for  the  first  time  in 
this  city  as  Julia,  in  the  "  Hunchback."  Sir  Thomas 
Clifford,  Mr.  Barry;  Master  Walter,  Mr.  Hield; 
Modus,  Murdock,  (the  best  Modus  we  ever  saw) ; 
Helen,  Mrs.  Richardson.  Miss  Tree's  fame  had  pre 
ceded  her.  Every  admirer  of  histrionic  art  had 
awaited  with  impatience  her  arrival  from  New  York 


RECORD    OF    THE    BOSTON    STAGE.  347 

and  Philadelphia,  where  her  praises  had  been  sung  in 
prose  and  poetry.  Fame,  however,  had  done  no  more 
for  her  than  justice,  for  she  was  then  at  the  head  of 
living  actresses,  and  though  at  present  un  pen  passe,  as 
Mrs.  Charles  Kean,  she  remains  unrivalled  in  many 
characters.  Her  acting  was  classical  and  finished. 
Her  performance  did  not  astound  the  audience  by  its 
energetic  boldness,  or  draw  forth  tumultuous  applause 
by  any  forced  fervor  of  its  passion.  It  was,  on  the  con 
trary,  that  style,  at  times  seen  in  Mrs.  Mowatt's  acting, 
gentle,  subdued,  and  polished ;  not  startling,  but  winning 
upon  the  judgment  as  the  play  advanced.  In  every 
action,  in  every  point  there  was  mind.  Her  triumphant 
success  in  this  country,  was  unequalled.  She  delighted 
every  one.  John  Quincy  Adams  was  so  pleased  with 
her  impersonations  that  he  paid  her  the  following  com 
pliment  :  — 

" 'Tis  Nature's  witchery  attracts  the  smile; 
'Tis  her  soft  sorrows  that  our  tears  beguile; 
Nature  to  thee  her  fairest  gifts  imparts; 
She  bids  thee  fascinate,  to  win  all  hearts  — 
The  wife,  the  queen,  the  wayward  child  we  see, 
And  fair  perfection,  all  abide  in  thee." 
Washington,  June  22nd,  1838. 

The  receipts  of  this  engagement  were  as  follows :  — 

1837.    Feb.  20th,  Hunchback,            ....  $751  25 

21st,  As  You  Like  It,           ...  521  00 

22d,  The  Wife, 790  00 

23d,  Belle's  Stratagem,     ...  680  25 

24th,  The  Hunchback,    .        .        .  674  25 

27th,  The  Wonder,      ....  759  75 

28th,  Borneo  and  Juliet,  .        .        .        .  451  50 

March    1st,  As  You  Like  It.     Ransom,        .  648  25 

"       2d,  School  for  Scandal.    Ransom,       .  667  25 


348  RECORD    OF   THE    BOSTON    STAGE. 

1837.    March  3d,     Provoked  Husband,  and  Perfection, 

(Benefit,) 730  75 

11       6th,     Wrecker's  Daughter,          .        .  794  75 
"       7th,     Much  Ado  About  Nothing,  and  Per 
fection,       647  75 

"       8th,     Wrecker's  Daughter,         ...  594  00 

"       9th,     The  Wife,  and  Youthful  Queen,   .  500  75 

"     10th,     The  Wonder.     Ransom,    .        .  528  00 

"     13th,     Twelfth  Night.    Youthful  Queen,  656  25 

"     14th,     The  Wife.    Youthful  Queen,        .  612  50 

"     15th,     Ion, 722  50 

"     16th,     Ion, 688  25 

"    17th,     Honey  Moon.    A  Roland  for  an  Oliver, 

(Benefit,)                f  858  50 

"     20th,     Ion,         .         .                .        .         .  506  50 

"    21st,      Twelfth  Night.    Youthful  Queen,  601  25  - 

"    22d,      BeUe's  Stratagem.     Ransom,     .  627  50 

"            "    23d,      Provoked  Husband,    Perfection,  487  50 

"            "    24th,     Honey  Moon.     Ransom,    .        .  754  25 
"           "    27th,     Hunchback.    Youthful  Queen, 

(Benefit,)           ....  1003  00 

"  Albimonti,"  a  play  by  Mr.  Charles  Hayward,  was 
brought  out  this  season.  Master  William  Hield,  on  the 
occasion  of  his  mother's  benefit,  made  his  debut  as 
Young  Norval,  (April  10th,  1837,)  and  Mr.  Joseph  A. 
Heman  made  his  debut  on  the  occasion  of  Mr.  Leman's 
benefit.  Mr.  Leman  played  Sir  Giles  Overreach  for  the 
first  time.  Mr.  Leman  was,  in  1852-3,  a  member  of 
the  stock  company  at  the  National  Theatre.  After  the 
Tremont  had  declined,  Mr.  Leman  visited  the  western 
part  of  the  country,  where  he  remained  several  years. 
He  is  a  sure  and  steady  actor,  accomplished  as  a  poet, 
and  highly  valued  in  private  life. 

Mrs.  Watson,  Mr.  Bailey,  and  Mr.  Plummer  ap 
peared  in  the  opera  of  the  "Pirate  Boy,"  on  the  17th 
of  April,  1837. .  They  gave  a  popularity  to  one  song 


RECORD    OF    THE    BOSTON    STAGE.  349 

at  least  during  their  brief  engagement  —  which  for 
months  afterwards  was  sung  by  every  young  lady,  who 
possessed  any  vocal  accomplishment,  hummed  over  by 
every  amateur,  and  whistled  in  every  alley.  Go  where 
you  would  it  was  "  Lightly  may  the  boat  row,"  and 
frequently  during  their  engagement  this  trio  were 
called  out  six  times  to  repeat  this  popular  piece.  In 
the  months  of  May  and  June,  in  1837,  Miss  Charlotte 
Cushman  gave  the  earliest  taste  of  that  dramatic  spirit, 
which  she  has  since  cultivated  to  so  much  advantage. 
On  the  30th  of  May  she  appeared  as  Lady  Macbeth,  to 
Barry's  Macbeth,  and  astonished  evejy  one.  She  fol 
lowed  up  her  first  triumph  by  playing  Portia  to  C.  H. 
Eaton's  Shylock,  and  also  performed  Fortunato  Falconi, 
Elvira  Morgianna,  and  announced  thus  early  her  pre 
dilections  for  male  parts  by  a  performance  of  Henry, 
in  "  Speed  the  Plough."  Although  she  had  given  up, 
by  her  assumption  of  these,  all  hopes  of  attaining  em 
inence  in  the  lyric  drama,  she  sung  "  Hail  Columbia  " 
on  Murdock's  benefit  night,  and  was  rapturously  ap 
plauded. 

Thus  closed  the  third  season  of  Mr.  Barry's  manage 
ment. 


350  RECORD    OF    THE    BOSTON    STAGE. 


CHAPTER  XXIV. 

Continuation  of  Mr.  Barry's  Management. — Bianca  Viscounti. — 
Forrest's  Great  Engagement.  —  Velasco.  —  Vandenhoff.  —  Mrs. 
Shaw.  —  Miss  Hildreth.  —  Miss  Missouri.  —  Her  Eomantic  His 
tory. —Lady  of  Lyons. —  Mr.  Barry's  Last  Season.  —  Edward 
Shales.  —  His  Dramatic  Career. — A  Review  of  Mr.  Barry's  Man 
agement. 

THE  next  season  of  Mr.  Barry's  management,  that 
of  1837-8,  commenced  on  the  7th  of  August.  Mr. 
and  Mrs.  Barrett  were  engaged  at  the  opening  for  a 
few  weeks,  having  then  just  returned  from  Europe, 
where  Mr.  Barrett,  we  believe,  performed,  but  not  with 
any  marked  success.  The  stars  this  year  were  Yankee 
Hill,  Booth,  Mr.  Lathane,  Miss  Melton,  Ellen  Tree, 
Miss  Clifton,  Forrest,  Vandenhoff,  Finn,  Mrs.  Shaw, 
Madame  Augusta,  Mr.  Hamblin,  Miss  Missouri,  Rice, 
Murdock,  Johnson,  Huntonville,  and  Davenport,  now 
starring  it  in  England,  were  members  of  the  stock  com 
pany.  Miss  Clifton  brought  out  (September  29th) 
Willis's  play  of  "Bianca  Viscounti,"  ($593.50,)  which 
was  well  received.  On  the  16th  of  October,  1837,  Mr. 
Forrest  appeared  as  Othello,  the  first  appearance  on  his 
return  from  England,  after  an  absence  of  four  years. 
Mr.  Forrest  played  twenty  nights,  and  the  receipts  were 
$11,400.  His  two  benefits  yielded  him  $1,725. 

Miss  Tree  followed  Forrest,  and  on  the  20th  of 
November,  brought  out,  for  the  first  time,  Mr.  Sargent's 
tragedy  of  "  Velasco."  Mr.  Barry  was  liberal  in 
getting  it  up,  and  the  cast  \\  as  a  strong  one :  —  Velasco^ 


RECORD    OF   THE    BOSTON    STAGE.  351 

Murdoch  ;  Julio ,  Barry  ;  Izidora,  Miss  Tree ;  Carlos, 
Miss  McBride.  The  piece  was  well  received  ($431.50,) 
but  is  now  seldom  performed.  Miss  Davenport  revived 
it  in  late  years,  but  it  did  not  prove  attractive,  on 
account  of  the  miserable  manner  in  which  it  was  put 
on  the  stage. 

Mrs.  Barry,  wife  of  the  manager,  made  her  first  ap 
pearance  before  a  Boston  audience  on  the  1st  of  De 
cember,  1837,  as  Mrs.  Rackett,  in  "  Belle's  Stratagem," 
to  Ellen  Tree's  Letitia  Hardy.  On  the  4th  of  Decem 
ber,  Mr.  Vandenhoff  made  his  first  appearance  in  this 
city  as  Coriolanus,  and  during  his  engagement  he 
played  Macbeth,  Cato,  Brutus,  Virginius,  Othello,  and 
Hamlet.  Mrs.  Barry  played  the  leading  female  parts, 
Mr.  Gilbert  and  Mr.  Murdoch  performing  second. 
Words  were  wanting  to  express  the  admiration  of  the 
critics  of  this  gentleman's  transcendent  talents.  Many 
who  remembered  Cooke,  pronounced  Vandenhoff  his 
superior,  and  his  Cato  —  a  part  in  which  even  Garrick 
failed  —  and  his  Hamlet,  are  remembered  by  many  as 
perfect  master-pieces.  Though  appreciated  by  the  few 
his  engagement  was  not  what  it  should  have  been,  what 
it  would  be  were  he  again  to  cross  the  Atlantic,  though 
in  a  subsequent  visit  he  did  very  well.  The  only  excuse 
we  can  offer  was  the  financial  difficulties  of  the  coun 
try,  which  engrossed  public  attention.  Mrs.  Shaw's 
(Mrs.  Hamblin)  first  appearance  in  this  city  was  as 
Julia,  in  the  "  Hunchback,"  on  the  28th  of  January, 
1838.  This  lady,  in  sprightly  comedy,  has  been  un 
equalled.  Her  performance,  of  late  years,  has  lost  that 
vivacity  and  abandon  which  were  the  chief  charms  of 
her  style.  Her  engagement  was  quite  brief,  during 


352  RECORD    OF   THE    BOSTON    STAGE. 

which,  however,  she  played  Hamlet,  and  Md'lle 
Augusta  and  her  corps  de  ballet  followed.  uLa  Baya 
dere,"  an  operatic  ballet,  was  produced  on  the  29th  of 
January,  1838,  and  was  put  on  the  stage  in  the  most 
admirable  style.  Mr.  Horncastle,  the  first  tenor  singer 
appeared,  and  the  leading  characters  were  sustained  by 
Md'lle  Augusta,  Miss  Kerr,  and  Madame  Otto.  Many 
recollect  undoubtedly  the  scenery  of  this  piece,  which 
exceeded,  especially  the  closing  scene,  any  thing  ever 
seen  in  this  city,  doing  infinite  credit  to  the  skill  and 
genius  of  Mr.  Stockwell.  The  piece  had  a  good  run, 
and  crowds  rushed  to  see  the  "  Indian  Paradise  "  to 
which  Zoleo  ascended.  Among  the  novelties  this  sea 
son,  was  the  debut  of  Miss  Hildreth,  daughter  of  Dr. 
Hildreth,  of  Dracut,  who  appeared  Marianna  in  the 
"  Wife,"  Bianca,  Lady  Teazle,  etc.  She  played  oc 
casionally  for  one  or  two  seasons,  and  then  retired  from 
the  profession. 

On  the  9th  of  May,  1838,  Ernest  Maltravers,  drama 
tized  by  Miss  Louisa  H.  Medina,  and  then  first  pre 
sented,  introduced  to  a  Boston  audience  Miss  Missouri 
in  the  character  of  Alice.  Mr.  Hamblin,  of  whom  the 
young  lady  was  a  protege,  appearing  after  the  absence 
of  six  years  as  Richard  Darvil  to  a  house  containing 
$457.75.  Miss  Missouri  performed  only  ten  nights  in 
this  city,  and  for  one  so  young  gave  great  satisfaction. 
This  was  her  first  and  only  engagement  in  Boston. 
She  was  by  birth  the  sister  of  Josephine  Clifton.  She 
received  her  education  at  Mrs.  Willard's  celebrated 
Seminary  at  Troy,  and  two  years  prior  to  her  first  ap 
pearance  in  New  York,  received  tuition  from  Mr.  Horn 
the  vocalist,  Mr.  Trust  the  pianist,  Mr.  Jones  of  the 


RECORD    OF   THE    BOSTON    STAGE.  353 

Park  Theatre,  Dr.  Barker  elocutionist,  and  Mr.  Plam- 
blin.  She  was  quite  young,  scarcely  seventeen,  just 
ripening  into  womanhood,  with  ^a  rounded,  elegant 
figure,  a  complexion  exquisitely  fair,  and  a  pair  of 
most  radiant  eyes.  To  these  personal  attractions  she 
united  a  mind  well  trained  and  a  rare  intellect,  and 
gave  every  promise  of  future  eminence  in  her  profes 
sion.  The  story  of  her  life  is  an  affecting  narration, 
bordering  strongly  upon  romance.  Early  in  life  she 
had  a  passionate  attachment  to  the  stage,  and  after 
completing  her  education  placed  herself  under  the  tui 
tion  of  Mr.  Hamblin,  becoming  a  member  of  his 
family.  This  step  was  taken  contrary  to  the  wishes  of 
her  mother,  a  woman  of  doubtful  respectability,  who 
from  some  cause  or  other  evinced  a  determination  to 
prevent  her  making  her  appearance.  Her  brother,  a 
young  man  by  the  name  of  Miller,  espoused  the 
mother's  side,  and  published  in  a  paper  called  the 
Polyanthus,  edited  by  G.  W.  Dixon,  a  most  violent 
attack  on  Mr.  Hamblin,  charging  him  with  abducting 
the  girl,  and  accusing  him  of  the  very  worst  intentions 
towards  her.  On  reading  this  article  Miss  Missouri 
swooned ;  she  had  borne  the  persecutions  of  a  set  of 
villains,  but  this  blow,  revealing  as  it  did  to  the  world 
who  she  was,  and  whence  she  sprung,  wounded  her 
deeply.  A  feminine  sensibility  of  soul,  a  refinement 
of  mind,  and  a  nice  sense  of  decorum,  with  a  corres 
ponding  delicacy  of  constitution,  ever  awakened  the 
sympathies  and  pity  of  all  who  knew  her.  She  was 
mortified  beyond  measure,  and  her  brain  reeled  beneath 
her  load  of  sorrow.  She  saw  around  her  a  selfish 
circle  of  persons  contesting  for  the  control  of  her 
23 


354  RECORD    OF    THE    BOSTON    STAGE. 

talents,  and  the  emoluments  from  their  exercise  —  and 
unable  to  stem  the  tide  which  set  against  her,  she 
yielded  and  died  of  inflammation  of  the  brain.  A 
thousand  rumors  were  current.  A  thorough  post 
mortem  examination,  by  the  most  eminent  physicians, 
bore  record  to  the  unsullied  purity  of  a  fair  girl.  Her 
death  was  universally  regretted.  The  parties  impli 
cated  were  arrested  —  Miller  for  threatening  Hamblin's 
life,  and  Dixon  for  some  other  cause  —  but  a  few 
months  only  passed  by,  and  this  sad  episode  in  every 
day  life  was  forgotten. 

Forrest  played  an  engagement  in  May,  and  on  the 
24th  the  play  of  the  "  Lady  of  Lyons,"  since  so  popular, 
was  first  produced  at  the  Tremont  to  a  house  containing 
only  $210.  This  play,  however,  had  been  produced  on 
the  16th  of  May  at  the  National  Theatre,  the  first  time 
in  Boston.  The  cast  at  the  Tremont  was  as  follows  : 
Claude,  Forrest ;  Col.  Damcp,  Gilbert ;  Beauseant, 
Cline  ;  Glavis,  Muzzy ;  Mons.  Deschappelles,  Daven 
port  ;  Gaspar,  Cunningham ;  Pauline,  Mrs.  Barrett ; 
Widow  Melnotte,  Mrs.  Muzzy.  At  the  National,  the 
cast  was,  Claude)  George  Jones ;  Beauseant,  Ayling ; 
Glavis,  J.  S.  Jones ;  Col.  Damas,  Spear ;  Gaspar, 
Saunders  ;  Mons.  Deschappelles,  Marshall ;  Pauline, 
Mrs.  Geo.  Jones  ;  Madame  Deschappelles,  Mrs.  Pelby ; 
Janet,  Mrs.  Parker.  This  piece  has  proved  one  of  the 
most  popular  ever  written.  The  ladies  are  peculiarly 
partial  to  it,  and  with  a  decent  cast  always  draws  a  good 
house.  Mr.  Murdoch  left  the  theatre  in  the  month  of 
May,  when  he  took  a  farewell  benefit.  His  departure 
was  regretted  by  the  public. 

The  sixth  and  last  season  of  Mr.  Barry's  management 


RECORD    OF   THE   BOSTON    STAGE.  355 

commenced  on  the  27th  of  August,  1838,  with  the 
"School  for  Scandal,"  ($569.75).  Miss  Rock,  Mr. 
Finn,  and  Mr.  Kilner,  were  engaged  for  a  limited 
number  of  nights.  The  stock  company  included  Comer, 
Barry,  Gilbert,  Whiting,  Muzzy,  Benson,  Adams,  Mrs. 
Gilbert,  Mrs.  Barry,  Miss  A.  Fisher,  Mrs.  Smith,  etc., 
and  Miss  Fanny  Jones  as  principal  danseuse. 

"  Masaniello "  was  revived,  the  leading  parts  sus 
tained  by  Person,  Brough,  Morgan,  and  Mrs.  Barry- 
more,  'i  he  Bedouin  Arabs  astonished  the  public  with 
4their  prodigious  leaps  and  evolutions,  trials  of  strength, 
pyramids  of  men,  etc.  The  leading  stars  were  Forrest, 
Mdlle.  Augusta,  Wallack,  Miss  Shirreff,  and  Miss 
Seguin,  Racket,  the  Woods,  Celeste,  Mr.  Bailey,  Mr. 
and  Mrs.  Sloman,  etc.  etc.  Tom  Kilner,  in  October, 
'38,  left  the  theatre,  announcing  his  intention  to  settle 
out  west,  where  he  is  still  living. 

The  season  of  1838-9  was  almost  devoid  of  interest. 
The  fortunes  of  the  drama  were  so  desperate,  that  the 
curtains  went  up  some  nights  to  less  than  $90  in  the 
house.  Mr.  Barry,  under  this  state  of  affairs,  allowed 
the  No-haired  Horse  to  appear,  and  also  permitted  one 
Shales,  an  amateur,  to  astonish  the  modern  Athenians 
with  his  impersonation  of  Richard  III.  With  these 
exceptions,  Mr.  Barry  never  deserted  the  legitimate 
province  of  the  stage,  but  such  trivial  deviations  in  so 
long  a  career  should  be  passed  over  lightly. 

We  should  not  allow  the  name  of  Edward  Shales  to 
pass  without  some  brief  tribute.  His  story  is  a  brief 
one.  Possessing  a  love  of  the  drama,  he  conceived  an 
idea  that  he  was  amply  qualified  to  represent  the  lead 
ing  heroes  of  tragedy,  with  fine  effect ;  and  our  stage- 


356  RECORD    OF    THE    BOSTON    STAGE. 

struck  hero  soon  made  known  his  aspirations,  which 
were  ably  seconded  by  a  party  of  the  maddest  wags  that 
ever  resided  in  Boston  at  one  time.  They  encouraged 
him  in  the  idea  that  nature  had  done  every  thing  for 
him,  and  he  gave  his  friends  a  touch  of  his  quality  in 
the  loft  of  a  stable.  Never  did  a  tyro  receive  such 
flattering  encomiums  as  he  received  from  these  critics, 
who  advised  him,  by  all  means,  to  perfect  himself  in 
Richard  III.,  and  astonish  Boston  by  a  display  of  talent. 
He  at  once  consented,  and  during  the  time  of  prepara 
tion,  sundry  oyster  and  champaigne  suppers  were  par 
taken  of  at  his  expense.  The  regular  drama  being  on 
the  decline,  Mr.  Barry  consented,  and  Shales  appeared. 
We  need  not  say  that  the  hit  was  great.  A  benefit  was 
announced  for  Mr.  Shales,  to  take  place  at  the  Tremont 
on  the  llth  of  June,  1839,  when  Shales  was  to  appear 
in  two  acts  of  "  Richard  III."  At  an  early  hour,  the 
house  was  densely  packed,  by  all  the  lovers  of  fun  in 
Boston,  who  had  been  privately  notified  that  a  rich 
dramatic  treat  might  be  expected,  the  ladies  with  be 
coming  good  taste  absenting  themselves,  save  one  or 
two,  who  were  not  to  be  excluded  from  the  entertain 
ment.  Mr.  Shales  appeared,  and  the  most  rapturous 
applause  burst  forth  from  every  part  of  the  house,  and 
for  many  moments  he  was  occupied  in  making  due 
acknowledgments  to  the  audience.  He  soon  com 
menced  his  part,  and  never  before  had  Shakspeare  had 
such  an  interpreter.  His  pronunciation  was  equally 
faulty  with  his  conception,  and  his  carriage  still  worse. 
A  few  missiles  were  thrown  upon  the  stage  at  the  com 
mencement,  and  Shales  began  to  have  an  idea  that  he 
had  put  his  foot  into  it,  but  he  resolved  to  go  on.  Pro- 


RECORD    OF    THE    BOSTON    STAGE.  357 

ceeding  a  little  farther,  he  was  saluted  by  a  thin  paper 
bag  of  flour,  which  transmogrified  Richard  into  a 
miller,  and  the  curtain  went  down  till  the  actor  had 
time  to  cleanse  himself.  Other  acts  of  disorder  were 
committed  ;  and  the  friends  so  far  forgot  themselves,  as 
to  throw  small  copper  coin,  while  a  lady  was  on  the 
stage.  The  manager  at  once  came  forward,  and  offered 
a  reward  of  fifty  dollars  for  the  discovery  of  the  person, 
intimating  that  whatever  they  might  be  pleased  to  do 
while  Mr.  Shales  was  on  the  stage,  they  must  respect 
the  presence  of  a  lady.  This  they  strictly  obeyed,  and 
Lady  Anne  was  held  sacred.  The  act  in  which  Shales 
figured  was  finally  drawing  to  a  close,  when  an  immense 
wreath,  composed  of  cabbage  leaves  and  other  products 
of  the  kitchen  garden,  was  thrown  to  him,  amid  the 
most  tremendous  cheering.  He  received  it  with  all  due 
courtesy,  and  the  curtain  went  down,  for  the  tenth  time 
during  the  evening.  Loud  calls  were  now  made  for 
"  Shales  !  "  "  Shales  !  "  "  Shales  !  "  and  he  finally  ap 
peared,  when  some  of  his  friends,  most  fantastically 
dressed,  rose  in  the  proscenium  box,  and  offered  for  his 
acceptance  a  service  of  plate  —  made  of  tin  !  He  ap 
proached,  and  a  few  remarks  were  made  ;  he  accepted 
the  waiter,  and  was  bearing  it  off  in  triumph,  when  a 
perfect  tornado  of  flour  balls  reached  him,  not  to  men 
tion  a  watery  stream  from  a  syringe.  He  held  fast 
hold  of  his  present,  however,  and  made  his  exit.  The 
service  of  plate  disappeared  that  night  in  a  most  mys 
terious  manner.  Mr.  Shales  was  kind  enough  to  allow 
it  to  be  placed  on  the  table  of  the  greenroom,  from 
whence  t  it  was  conveyed  to  the  paint  room.  Here  it 
was  found  by  another  person,  who  had  it  put  in  a  box, 


358  RECORD    OF    THE    BOSTON    STAGE. 

directed  and  sent  it  to  the  landlord  of  one  of  the  leading 
hotels  in  a  suburban  town,  with  the  intention  of  notify 
ing  a  few  choice  spirits  to  there  convene  and  enjoy  a 
social  hour ;  but  the  landlord  took  umbrage  at  the  plate, 
and  when  he  next  visited  Boston,  made  a  circuitous 
route  over  Cambridge  bridge,  and  consigned  the  box 
and  plate  to  the  water.  The  wreath  was  sent  to  New 
York,  where  it  was  much  admired.  The  scribblers  of 
the  day  alluded  to  this  affair  in  various  ways.  One, 
through  the  columns  of  the  Post,  wrote :  — 

"  And  know  you  not  your  enemy. 

Your  greatest  foe  in  town? 
'T  was  William  Pelby  who  did  send 
The  knaves  to  put  you  down. 

"  You  spoil  his  houses  when  you  play. 

Ah1  his  attraction  fails, 
When  on  the  Tremont  bills  appears 
Richard,  by  Mr.  Shales." 

"  Straws,"  of  the  N.  O.  Picayune,  had  his  verses,  one 
of  which  was  as  follows  :  — 

"  Great  Shales !  ve  does  n't  touch  thy  hump, 

Nor  dare  ve  reach  thy  crown ; 
Ve  stops  short  at  the  eye-brows,  quite 

Dumfounded  by  thy  frown ! 
Vainly  shall  rivals  claim  the  wreath  — 

Thy  genius  doth  secure  it ;  — 
The  test  of  tragic  genius  is, 

That  muscles  can't  endure  it!  " 

Mr.  Shales,  we  must  do  him  the  credit  to  say,  attracted 
the  largest  house  of  the  season,  ($1,129.50,)  and  bore 
the  joke  with  great  good  humor,  concluding,  "  let  him 


RECORD    OF    THE    BOSTON    STAGE.  359 

laugh  who  wins ; "  and  after  all,  he  possessed  more 
shrewdness  than  he  had  credit  for  ; 

"  His  after  fate  untold  in  Thespian  strain, 
His  Richard  ne'er  astonished  a  crowded  house  again." 

"  Nicholas  Nickleby "  was  brought  out,  and  Squeers 
(John  Gilbert)  and  his  better  half  as  Mrs.  Squeers, 
dealt  out  the  brimstone  and  treacle  to  about  forty  boys 
to  the  admiration  of  crowded  houses.  Smith  as  Nicholas 
shouted  "  Wretch ! "  and  Muzzy  as  Mantalini  threatened 
to  break  his  "dimnition  head,"  while  Miss  Rock  as 
Smike  picked  up  the  crumbs  with  becoming  gravity. 
The  piece  proved  successful.  It  was  the  delight  of  the 
juveniles.  Another  piece  called  "  Trudge,  Fudge,  and 
Drudge,"  was  brought  out  on  the  occasion  of  Mr.  Charles 
Craft's  benefit,  the  popular  box-office  keeper,  who  for 
many  years  was  chief  of  this  department.  On  that 
occasion,  Mr.  Crafts  appeared  on  the  stage,  —  his  first, 
and  we  believe  his  last  appearance  on  the  boards.  Mr. 
Barry  brought  the  season  to  a  close  in  June,  and  ter 
minated  his  labors  after  six  years'  campaign  as  manager 
of  the  Tremont  Theatre. 

If  the  reader  will  cast  his  eye  back  and  glance  at  the 
array  of  talent  brought  out  under  Mr.  Barry's  manage 
ment,  and  if  he  will  recall  the  various  productions,  the 
novelty  and  necessary  expenses  incurred  to  make  the 
theatre  what  it  should  be,  he  will  certainly  admit  that 
Mr.  Barry  deserved  a  rich  reward.  He  had  exerted 
himself  to  make  the  drama  attractive,  and  to  lift  it  to  a 
moral  standard.  He  studied  to  meet  the  approbation 
of  the  respectable  classes  of  the  community,  and  he 
toiled  hard  to  keep  himself  a  "  man  of  his  word."  But 
the  result  of  all  this  was  most  disastrous  to  Mr.  Barry, 


360  RECORD    OF    THE    BOSTON    STAGE. 

for  his  loss  during  the  six  years  exceeded  twenty-six 
thousand  dollars.  His  most  fortunate  season,  that  of 
1834-5,  produced  the  unprecedented  sum  for  Boston  of 
$94,000  ;  the  expenses  amounted  to  $97,000.  During 
his  lease,  the  country  passed  through  scenes  of  pecuniary 
disasters  almost  unparalleled  ;  yet  had  the  building  held 
that  number  of  persons  which  every  first  class  theatre 
must  hold  to  pay  the  necessary  expenses,  we  doubt  not 
he  would  have  fought  the  fight  with  success,  and  come 
out  of  the  struggle  with  full  pockets.  The  theatre,  un 
fortunately,  was  deficient  in  accommodation.  The  first 
and  second  tier  of  boxes  had  seats  for  264  persons  only, 
and  the  average  receipts  of  one  of  the  greatest  engage 
ments,  that  of  the  Woods  in  "  La  Sonnambula,"  amount 
ed  to  $675  per  night,  while  the  expenses  amounted  to 
$700.  In  New  York,  the  Woods  averaged  for  sixteen 
nights,  with  the  same  opera,  $1,467,  but  the  Park  held 
411  persons  in  the  lower  tier  of  boxes,  the  Tremont 
only  132.  The  rent  paid  by  Mr.  Barry  was  $9,500  a 
year  for  the  whole  of  the  Tremont  Theatre,  including 
the  bars,  which,  owing  to  the  action  of  the  city  author 
ities  during  his  engagement,  so  limited  the  use  of  the 
bars,  that  the  rent  fell  in  his  hands  from  $2,500  to 
$1000.  The  directors  in  their  report  of  1839,  made  to 
the  stockholders,  admitted  that  the  corporation  netted 
50  per  cent,  more  than  had  been  realized  from  any 
preceding  lessee,  stating,  "  Mr.  Barry  is  the  only  tenant 
we  have  yet  had  who  has  both  satisfied  the  public,  and 
paid  a  fair  remunerating  rent  to  the  proprietors,  and 
the  fact  that  the  theatrical  business  in  Boston  for  the 
last  two  or  three  years  has  been,  and  still  is,  in  a  state 
of  extraordinary  depression." 


RECORD    OF    THE    BOSTON    STAGE.  361 

At  this  time  Mr.  Barry  was  somewhat  in  arrears  for 
rent,  and  notwithstanding  this  favorable  report,  and  the 
fact  that  he  had  paid  $1G,000  in  repairs,  gas  fittings, 
etc.,  they  demanded  and  obtained  the  full  payment  of 
the  bond.  His  books,  wardrobe,  every  thing  came  under 
the  auctioneer's  hammer,  and  Mr.  Barry  left  Boston  as 
poor  as  Lazarus. 

Such  a  termination  to  his  many  trials  was  a  hard 
recompense  for  his  six  years  of  toil.  He  had  not  only 
been  obliged  to  contend  against  the  crises  in  the  money 
market,  but  Mr.  Pelby  proved  an  inveterate  enemy 
through  life  to  the  Tremont  Theatre,  and  sought  its 
overthrow  by  every  means  in  his  power,  as  a  retaliation 
for  the  treatment  he  had  experienced  from  the  first 
board  of  directors.  No  star  came  to  this  country  of  any 
note  after  Mr.  Pelby  opened  the  Warren,  but  received 
at  once  liberal  offers  to  appear  at  his  theatre.  Mr. 
Barry  was  of  course  in  the  field,  and  to  obtain  them 
was  obliged  to  outbid  Mr.  Pelby's  offers,  which  he  never 
wished  to  be  accepted.  We  attach  no  blame  to  the 
latter  gentleman  for  this  piece  of  diplomacy,  and  merely 
mention  it  to  give  an  idea  of  a  not  unimportant  agent 
in  the  decline  of  the  Tremont.  This  fact,  coupled  with 
the  more  important  one  that  the  theatre  was  too  small, 
explains  the  question  sometimes  asked,  Why  did  Boston 
not  sustain  the  Tremont  Theatre  ? 


362       RECORD  OF  THE  BOSTON  STAGE. 


CHAPTER   XXV. 

The  Tremont  under  J.  S.  Jones.  —  Season  '39-40.  —  The  Company.  — 
Mr.  Kanger.  —  Charles  Kean.  —  Death  of  Mr.  Stimpson.  —  Mrs. 
Fitzwilliam.  —  Jack  Falstaff,  by  George  Andrews.  —  The  Finn  and 
Eberle  Benefit.  —  Attempt  to  reduce  the  Prices.  —  Tyrone  Power. 
—  Fanny  Elssler.  —  The  Woods.  —  John  Braham,  etc.  etc. 

AFTER  the  departure  of  Mr.  Barry,  the  proprietors 
of  the  theatre  had  numerous  applications  for  the  lease, 
but  our  townsman,  J.  S.  Jones,  Esq.,  was  deemed  the 
best  qualified  for  the  post,  and  it  was  rented  to  him  for 
four  3rears,  with  the  right  to  terminate  in  two  or  three 
years.  The  rent  was  $8000  the  first  year,  and  $8,500 
the  subsequent  years. 

The  season  of  1839-40,  under  Mr.  Jones,  commenced 
on  the  2d  of  September,  with  the  "  Poor  Gentleman," 
and  the  farce  of  the  "  Little  Adopted."  Mr.  Gilbert, 
the  stage-manager,  delivered  an  opening  address,  in  the 
course  of  which  the  following  allusion  was  made  to  Mr. 
Barry :  — 

"  Ay !  look  around  —  above  —  it  is  the  same 
Old  Shakspeare's  temple,  as  when  erst  you  came. 
There  you  have  often  sat,  and  here  have  seen 
The  buffoon  peasant  and  the  tragic  queen. 
Here  have  you  heard  the  lover  plead  his  cause, 
And  seen  the  hero  fight  for  liberty  and  laws. 
'  T  is  not  the  same !  for  ONE  has  left  the  shrine 
Who  loved  with  flowers  its  hundred  gates  to  'twine, 
He  who  directed,  he  who  led  our  band, 
Has  gone  to  labor  in  a  sister  land. 
Our  hearts  are  with  him  for  his  good  success ; 
Here  's  to  his  health,  his  home,  his  happiness." 


RECORD    OF    THE    BOSTON    STAGE.  363 

The  company  included  Mr.  and  Mrs.  Gilbert,  Mr. 
and  Mrs.  TV".  H.  Smith,  Mr.  and  Mrs.  Muzzy,  Mr.  and 
Mrs.  Ay  ling,  Mrs.  Sheridan,  Mrs.  Anderson,  Miss 
Boquet,  Fanny  Jones,  Messrs.  George  H.  Andrews, 
J.  F.  Williamson,  D.  Whiting,  A.  W.  Fenno,  D.  A. 
Sarzedas.  W.  H.  Curtis,  J.  H.  King.  Leader  of  the 
orchestra,  Holloway ;  James  Kendall,  clarionet ;  Ed 
ward  Kendall,  bugle  ;  Geer,  Warren,  Woodhouse,  etc. 

The  theatre  was  decorated  throughout,  and  a  splendid 
drop  act  was  painted  by  W.  M.  Bayne,  who  has  of  late 
years  acquired  a  fortune,  by  his  Panorama  of  a  Voyage 
to  Europe. 

Mrs.  Anderson  made  a  hit  this  season  as  Jane  Lomax, 
and  ably  supported  Mr.  Forrest  during  his  engagement, 
performing  Julie  de  Mortimar  to  Mr.  F.'s  Richelieu, 
with  an  effect  since  unequalled. 

On  the  4th  of  November,  Mr.  Ranger  appeared  for 
the  first  time  as  Marquis  St.  Croix,  in  the  comedy 
written  by  himself,  entitled  the  "  Romantic  Widow." 
Many  will  remember  this  gentleman  for  his  excellent 
impersonation  of  the  French  gentlemen,  in  which  he 
excelled.  This  gentleman  was  more  successful  in  New 
York  than  here.  He  belonged  to  the  class  of  actors 
whose  peculiarities  may  be  summed  up  in  the  single 
word  —  beautiful.  His  every  movement  was  symmetry 
and  grace  ;  but,  notwithstanding  these  qualifications,  he 
played  to  poor  houses. 

Charles  Kean  followed,  and  attracted  good  houses. 
His  Hamlet  was  pronounced  excellent  throughout ;  his 
King  Lear,  beautiful  and  almost  unrivalled  ;  but  as  the 
"  crook-backed  tyrant,"  he  was  not  so  successful.  Mr. 
Kean  also  appeared  as  Claude  Melnotte,  and  performed 


364  RECORD    OF    THE    BOSTON    STAGE. 

Pizarro  to  Mrs.  Anderson's  Elvira  on  Thanksgiving 
evening,  when  Mr.  Stimpson,  the  captain  of  the  super 
numeraries,  was  killed  by  the  curtain  weight  falling 
upon  him  and  fracturing  his  skull. 

On  the  16th  of  December,  Mrs.  Fitzwilliam,  the 
same  who  still  delights  a  London  audience,  appeared. 
The  play  of  "  Widow  Wiggins,"  in  which  she  sustained 
six  characters,  was  very  attractive.  Her  appearance 
on  the  boards,  at  a  time  when  there  was  a  depression 
in  business,  and  consequently  many  long  faces,  was 
deemed  a  public  benefit,  for  her  faultless  acting  chased 
away  the  clouds  of  despondency,  and  smoothed  the 
furrows  of  care.  Her  vocal  as  well  as  histrionic  powers 
were,  at  that  time,  exceedingly  versatile,  and  her 
"Music  Mad  "  called  forth  repeated  rounds  of  applause. 
"  Foreign  and  Native  Graces  "  was  one  of  Mrs.  Fitz- 
williams's  most  popular  pieces  ;  and  this  lady,  although 
not  remarkable  for  her  beauty,  won,  by  force  of  real 
talent,  the  suffrages  of  all  theatre-goers.  She  played 
Rosalind  to  W.  H.  Smith's  Orlando,  and  Frederick's 
Jacques,  on  the  night  of  her  benefit,  which  was  honored 
by  a  full  house. 

After  the  departure  of  this  lady,  a  series  of  stock 
benefits  took  place.  Mr.  George  H.  Andrews  appeared 
as  Sir  John  Falstajf.  A  wicked  critic  was  bold  enough 
to  remark,  that  "  he  played  Jack  Falstaff  to  kill ;  that 
is,  he  killed  off  FalstaiF  to  begin  with  —  murdered  him 
absolutely  —  and  then  played  Jack  Andrews  very  well 
during  the  rest  of  the  performance  ;"  a  very  just 
opinion  of  this  effort.  Mrs.  Anderson's  benefit  was  a 
good  one.  She  was  aided  by  Ranger,  and  her  father, 
William  Pelby,  appeared  in  the  5th  act  of  "Brutus," 


RECORD    OF    THE    BOSTON    STAGE.  365 

his  first  appearance  on  the  Tremont  boards  for  eight 
years. 

On  the  27th  of  January,  1840,  a  benefit  was  given  at 
the  Tremont  to  the  widow  and  children  of  Henry  J. 
Finn,  whose  recent  loss  in  the  Lexington  (Jan.  13, 
1840)  then  excited  the  greatest  sympathy.  A  meeting 
of  gentlemen  was  holden  at  the  Exchange  Coffee  House, 
at  which  Josiah  Bradlee,  Esq.,  presided,  and  William 
Hayden  was  secretary,  when  a  committee  was  appointed 
to  superintend  the  benefit.  Mr.  and  Mrs.  Seguin,  Mr. 
and  Mrs.  Wallack,  Mr.  Knight  the  vocalist,  Mr.  Eanger, 
and  the  stock  company,  volunteered  their  services,  and 
the  price  was  raised  to  $2  boxes,  and  $1  pit  and  second 
circle.  The  result  was  a  house  containing  $1175.  A 
benefit  was  also  given  to  Mrs.  Eberle,  whose  husband, 
an  actor,  was  also  lost  on  board  the  Lexington,  which 
attracted  at  the  regular  prices  $1116.  These  benefits 
were  honorable  alike  to  the  brother  artists  who  so 
generously  contributed  their  services,  and  to  the  finer 
feelings  and  sympathies  that  cluster  around  the  heart. 
The  public  responded  to  the  calls,  and  the  truckmen 
turned  out  strong.  At  the  Eberle  benefit,  a  uniform 
band  of  marines  from  the  Navy  Yard  came  over.  The 
families,  after  deducting  a  few  expenses,  received  about 
$900  each. 

Mr.  Ranger's  benefit  was  during  this  engagement 
fashionably  attended.  On  that  occasion  a  medal  of 
splendid  embossed  gold,  the  free  gift  of  a  large  number 
of  his  friends  and  admirers,  was  presented  to  him.  It 
bore  a  suitable  inscription,  and  Mr.  Ranger  in  accept 
ing  it  responded  in  a  most  courteous  and  appropriate 
manner. 


366  RECORD    OF    THE   BOSTON    STAGE. 

On  the  21st  of  February,  Mr.  Jones  finding  it  up  hill 
work,  closed  the  house,  which  he  had  a  right  to  do  by  a 
restriction  in  the  lease.  He  had  done  all  that  could  be 
expected  of  him  to  sustain  this  popular  play-house ;  but 
the  public  were  not  disposed  to  pay  $1  per  ticket,  and, 
aware  of  this  fact,  the  manager  desired  to  reduce  the 
prices,  but  the  proprietors  of  the  theatre  would  not 
listen  to  a  proposal,  which  might,  if  adopted  when  first 
suggested,  have  tended  to  contribute  to  its  popularity, 
and  preserved  it  even  to  this  day  as  a  dramatic  temple. 
It  is  true,  however,  that  the  season  of  1839-40  was  a 
most  disastrous  one  to  theatrical  entertainments  through 
out  the  country,  for  in  New  York  and  Philadelphia  they 
were  equally  unsuccessful. 

Mr.  Jones  reopened  the  theatre  on  the  30th  of  March. 
Forrest,  Mr.  and  Mrs.  H.  Wallack,  and  Hacket,  ap 
peared.  On  the  llth  of  May,  1840,  Signor  Hervio 
Nano  opened  as  the  "  Gnome  King." 

The  theatre  was  subsequently  closed  a  few  days,  to 
afford  time  for  the  preparation  of  F.  S.  Hill's  "  Six 
Degrees  of  Crime,"  which  was  partially  successful,  and 
finally  closed  on  the  4th  of  July. 

The  loss  of  the  season  was  considerable,  and  the 
receipts  for  thirty-seven  weeks  were  little  rising  of 
$48,000.  Among  other  stars  not  particularized  above, 
who  appeared  this  season,  were  Dan  Marble,  Finn, 
whose  last  performance  in  this  city  was  October  4, 
1839,  as  Logic  and  Mawworm,  Miss  Hildreth,  Celeste, 
Murdoch,  Lecompte,  and  Ballet,  and  L.  F.  Tasistro, 
formerly  editor  of  the  London  Athenceum. 

The  season  of  1840-1  was  commenced  by  Mr.  Jones 
on  the  24th  of  August.  The  plays  were,  "  John  Bull," 


RECORD    OF   THE    BOSTON    STAGE.  367 

in  which  Tyrone  Power,  the  eminent  delineator  of  Irish 
character,  played  Dennis  JBrulgruddery,  and  the  "  Irish 
Lion,"  the  leading  part  also  sustained  by  Mr.  Power, 
who  had  then  just  arrived  from  Liverpool,  and  was 
induced  to  play  three  nights  prior  to  his  New  York 
engagement.  The  name  of  Power  will  forever  be 
associated  with  the  fate  of  the  steamship  President,  in 
which  he  was  a  passenger.  He  was  born  in  the  county 
of  Waterford,  Ireland,  on  the  2d  of  November,  1797. 
Power's  account  of  his  travels  in  America  is  still 
extant. 

To  return  to  the  record  of  local  affairs.  The  company 
consisted  of  Mr.  and  Mrs.  Gilbert,  Mr.  and  Mrs.  Cres- 
wick,  Mr.  and  Mrs.  Muzzy,  Mr.  and  Mrs.  Ay  ling,  Mrs. 
W.  H.  Smith,  Mrs.  H.  Cramer,  Fanny  Jones,  G.  H. 
Andrews,  S.  D.  Johnson,  Hill,  Curtis,  Spear,  King,  etc. 
Scenic  artist,  Bartholomew.  Dan  Marble  appeared  this 
season,  and  pleased  those  partial  to  his  peculiar  style. 
He  was  good  in  his  line  of  Yankee  parts,  and  has  had 
no  equal  on  the  boards  since  his  death. 

Fanny  Elssler,  the  first  theatrical  celebrity  who  came 
from  France  to  salute  the  United  States,  made  her  first 
appearance  in  Boston  on  the  evening  of  the  7th  of  Sep 
tember,  1840.  Her  great  reputation  as  a  danseuse, 
surpassed  only  by  Taglioni,  and  by  many  preferred 
even  to  her,  had  preceded  her  arrival,  and  her  success 
in  New  York  had  so  bewildered  the  editors  and  critics, 
that  the  language  was  deficient  in  words  to  express 
their  admiration.  "  All  that  we  had  imagined  of 
poetry,"  said  one,  "  of  music,  of  sculpture,  of  refinement, 
elegance,  and  beauty,  were  realized.  The  colors  of  the 
rainbow,  the  delicacy  of  the  flowers,  the  purity  of  the 


368       RECORD  OF  THE  BOSTON  STAGE. 

crystal  waters,  have  nothing  more  radiant,  exquisite,  or 
transparent,  than  the  gossamer  floatings  of  this  glorious 
creature.  For  the  first  time  in  our  lives  we  felt  what 
the  poet  meant  by  the  ( airy  gems,'  the  '  spoken  flowers,' 
and  the  '  oracular  songs,'  of  his  enraptured  fancy."  Such 
language,  as  we  read  it,  long  after  the  "  divine  Fanny  " 
has  disappeared  from  public  notice,  strikes  us  as  the 
ravings  of  some  crack-brained  fop,  but  at  that  time  so 
enraptured  were  the  public,  that  it  fell  upon  the  ear  as 
the  very  moderate  sentiments  of  a  very  cool  admirer. 
Fanny  Elssler  carried  America  by  her  exquisite  grace, 
even  as  Jenny  Lind  conquered  all  hearts  by  her  beauti 
ful  voice;  and  as  she  may  be  considered  the  best 
danseuse  we  have  ever  seen  in  this  country,  we  quote 
the  following  very  accurate  description  of  her,  from  the 
"  Beauties  of  the  Opera  and  Ballet : "  —  "  La  Fanny  is 
tall,  beautifully  formed,  with  limbs  that  strongly  resem 
ble  those  of  the  hunting  Diana,  combining  strength  with 
the  most  delicate  and  graceful  style  ;  her  small  and 
classically  shaped  head  is  placed  on  her  shoulders  in  a 
singularly  elegant  manner ;  the  pure  fairness  of  her 
skin  requires  no  artificial  whiteness,  while  her  eyes 
beam  with  a  species  of  playful  malice,  well  suited  to 
the  half-ironical  expression  at  times  visible  in  the 
corners  of  her  finely-curved  lips  ;  her  rich,  glossy  hair, 
of  bright  chesnut  hue,  is  usually  braided  over  a  forehead 
formed  to  wear,  with  equal  grace  and  dignity,  the 
diadem  of  a  queen,  or  the  floral  wreath  of  a  nymph. 

The  announcement  of  her  advent  was  hailed  with 
joy,  and  our  usually  staid  citizens  indulged  in  various 
bursts  of  enthusiasm,  and  many  actually  walked  before 
the  Tremont  House  for  hours,  in  hopes  that  the  divinity 


RECORD    OF    THE    BOSTON    STAGE.  369 

would  show  herself  at  the  window.  Twenty-one  boxes 
were  sold  on  the  Saturday  previous,  and  on  the  morning 
of  Monday,  the  remainder  were  sold  at  auction.  The 
first  week  of  her  appearance  was  a  most  notable  one, 
aside  from  her  great  attraction,  assisted  as  she  was  by 
Mons.  Sylvan.  On  the  10th  of  September,  the  great 
Bunker  Hill  Convention  was  holden,  and  a  fair  was 
held  by  the  ladies  to  complete  the  Bunker  Hill  Monu 
ment.  It  was  an  exciting  week,  but  "  Nathalie  "  and 
"  La  Sylphide  "  were  not  lost  amidst  these  political  and 
patriotic  scenes.  It  was  "  Elssler  "  on  every  side.  She 
was  dreamed  of,  talked  of,  and  idolized  ;  and  some  wag 
having  circulated  a  report  that  "  Fanny  "  would  take  an 
airing  in  her  barouche,  quite  a  gathering  took  place  on 
Tremont  street.  Boston  was  not  alone  in  this  ovation, 
for  the  ladies  from  Boston  to  Philadelphia,  all  wore 
Elssler  cuffs,  made  of  velvet  with  bright  buttons.  In 
every  store  window  articles  were  displayed  flavoring  of 
the  mania.  Elssler  boot-jacks,  Elssler  bread,  etc.  etc., 
were  to  be  seen,  showing  how  violent  was  the  attack  of 
Fannyelsslermaniaphobia.  .  It  was  during  this  visit 
that  Fanny  contributed  her  share  of  a  benefit  to  com 
pleting  Bunker  Hill  Monument,  which  amounted  to 
$5G9.50.  Boston  was  somewhat  laughed  at  for  accept 
ing  this  gift,  and  the  scribblers  had  their  jokes ;  but 
after  all  it  was  Boston  money. 

Fanny's  last  appearance  at  this  engagement  was  on 
the  2d  of  October,  to  a  crowded  house.  She  was  called 
out;  and  being  led  forward  by  Mons.  Sylvan,  she 
pressed  her  hand  upon  her  heart,  and  said  : 

"  Ladies  and  Gentlemen :  This  is  the  first  time  I  have 
appeared  before  you  with  pain.  Am  I  to  leave  you 
24 


370  RECORD    OF   THE    BOSTON    STAGE. 

forever  ?  No,  it  shall  not  be.  I  will  not  say  adieu,  but 
hope  to  see  you  again." 

The  once  angelic  Fanny  Elssler  is  still  living,  accord 
ing  to  late  accounts,  a  sturdy  matron,  whose  present 
embonpoint  would  never  indicate  her  former  grace  and 
loveliness.  The  Chevalier  Wyckoff,  who  figured  with 
this  lady  while  in  this  country,  has  recently  been  im 
prisoned  in  Genoa,  for  attempting  to  abduct  a  Miss 
Gamble.  He  is  now  at  liberty,  and  we  could  forgive 
him  his  sins,  were  he  to  bring  another  Elssler  to  this 
country. 

The  receipts  of  this  engagement  were  very  great. 
Mr.  Jones  paid  Fanny  Elssler  $500  per  night,  and  the 
following  was  the  result.  Fanny  did  not  dance  on  the 
memorable  10th  of  September.  Mr.  Ores  wick,  now  in 
London,  appeared  in  the  "  Sea  Captain,"  and'a  better 
melo-dramatic  actor  we  have  never  seen.  The  receipts 
below  include  the  premiums  obtained  at  auction  by 
the  sale  of  tickets,  Messrs.  Coolidge  and  Haskell, 
auctioneers :  — 

1840.  Sept.  7, $1242 

"   9,     .......  1726 

"11,  . 1537 

"14, 1184  25 

"16, 1118 

"18, 959 

"21, 909 

"23, 816  75 

"25, 1160  75 

"28, 620  75 

"29, 624  75 

Oct.   1, 969  50 

"2, 1391  75 

Mr.  Forrest  succeeded  Elssler,  and  was  followed  by 


KECORD    OF   THE   BOSTON    STAGE.  371 

Mr.  Vandenhoff,  the  elder,  and  Miss  Vandenhoff,  their 
second  appearance  in  Boston.  Mr.  V.'s  Hamlet  is 
remembered  by  our  critics  as  the  Hamlet  of  the  stage. 
Miss  Josephine  Clifton,  Mr.  Buckstone,  now  in  London, 
appeared.  Mr.  and  Mrs.  Wood,  and  Mr.  Brough,  ap 
peared  on  the  7th  of  December  in  "La  Sonnambula," 
and  during  their  engagement,  full,  fashionable,  and 
musical  audiences  graced  the  boxes.  On  the  llth  of 
January,  1841,  John  Braham  made  his  first  appearance 
in  a  Boston  theatre  at  the  Tremont,  in  the  character  of 
Henry  Bertram,  (Guy  Mannering,)  without,  however, 
any  vocalist  to  sustain  him,  the  only  show  of  opera  being 
his  own  unaided  efforts.  He  subsequently  appeared  in 
Count  Belino,  (the  Devil's  Bridge,)  and  the  operetta 
"  The  Cabinet."  For  his  benefit  and  farewell  to  a 
Boston  stage,  he  took  the  second  and  third  acts  of 
"Massaniello"  and  "The  Waterman." 

Having  previously  appeared  in  concerts  under  the 
patronage  of  the  Handel  and  Haydn  Society,  there  was 
slight  curiosity  to  hear  the  veteran  English  tenor  in 
opera  travestie,  and  the  experiment  of  substituting  one 
singer,  however  brilliant,  for  an  opera  company,  met  a 
cold  reception  from  the  public  accustomed  to  "the 
Woods  "  and  the  Seguine  troupe.  Mr.  Braham  was, 
unfortunately  for  his  stage  popularity,  no  actor,  but  on 
the  contrary  marred  every  character  by  excessive  awk 
wardness.  He  never  pretended  to  embody  the  graceful 
lover  or  hero  for  which  the  bills  announced  him.  Added 
to  these  drawbacks,  the  want  of  a  good  stage  presence 
destroyed  all  the  illusions  of  the  scene,  and  brought  his 
audience  back  to  a  cold  reality  of  John  Braham,  the 
great  tenor,  singing  like  a  machine,  and  giving  not  the 


372  RECORD    OF    THE    BOSTON    STAGE. 

least  idea  of  Harry  Bertram,  Count  Belino,  or  Tom 
Tug.  A  few  performances,  to  wretched  houses,  closed 
this  unfortunate  exhibition,  and  Braham  returned  to  his 
appropriate  field  of  action,  the  concert  room,  where  he 
continued  to  reap  a  golden  harvest,  and  by  his  superb 
vocalization  soon  effaced  all  recollection  of  his  failure  in 
opera.  England's  greatest  tenor,  as  we  have  already 
stated,  was  introduced  to  Boston  audiences  by  the  Handel 
and  Haydn  Society.  The  announcement  of  his  debut 
was  a  chef  d'ceuvre  of  the  enthusiastic  secretary,  who, 
for  so  many  years,  managed  the  affairs  of  that  associa 
tion.  On  the  20th  and  22d  of  November,  1840,  two 
entertainments  were  promised,  so  affording  Bostonians 
the  only  opportunity  of  listening  to  the  dulcet  notes  of 
Europe's  most  celebrated  songster.  Crowds  rushed  to 
pay  their  dollar  for  this  only  opportunity,  and  the  vast 
majority  were  fully  satisfied  that  John  Braham's  reputa 
tion  had  a  solid  foundation  in  the  great  feats  he  accom 
plished.  His  remarkable  power,  compass,  and  good 
quality  of  voice,  fairly  astonished,  in  their  remarkable 
union,  all  listeners.  They  could  not  credit  the  existence 
of  their  own  senses,  when  they  witnessed  such  daring 
and  brilliant  performance  of  the  greatest  difficulties,  by 
a  man  acknowledged  to  be  very  near  threescore  and 
ten.  The  sensation  produced  by  his  wonderful  command 
of  the  most  extensive  tenor  repertoire,  and  the  thrilling 
energy  and  delightful  verve  and  expression,  that  gave 
all  his  music  grace  and  color,  was  increased  to  a  positive 
furore  by  the  fracas  between  the  Handel  and  Haydn 
Society  and  a  critic.  A  flaming  card  appeared  in  the 
journals  of  that  day,  signed  by  several  prominent  mem 
bers  of  the  Handel  and  Haydn,  in  which  the  critic  was 


RECORD    OF    THE    BOSTON    STAGE.  373 

denounced  as  unworthy  of  credit  and  public  confidence 
in  his  vocation  of  critic. 

So  unusual  a  procedure  stirred  up  a  mighty  commo 
tion  here,  and  the  amount  of  discussion  and  excitement 
produced,  almost  equalled  hard  cider  and  log  cabin 
uproar  through  which  the  country  had  then  passed. 

Mr.  Braham,  after  his  failure  at  the  Tremont,  went 
into  the  concert-giving  business  on  his  own  account, 
besides  singing  for  the  Handel  and  Haydn  in  oratorios 
and  selections  from  sacred  music.  Toward  the  close  of 
his  somewhat  protracted  concert  season,  he  invoked 
Russell  and  the  Rainers  to  his  aid.  His  farewell  con 
cert  took  place  Feb.  16,  1841,  and  his  last  appearance 
on  the  20th  of  that  month,  for  Mr.  Hayter's  benefit. 

In  sacred  music,  his  njost  popular  and  effective  per 
formances  were,  "  Sound  an  Alarm,"  from  Judas  Mac- 
cabaeus  ;  "  Comfort  Ye,".and  "  Every  Valley ;  "  "  Thy 
Rebuke,"  and  "  Behold  and  See ; "  "  He  that  Dwelleth," 
and  "  Thou  shalt  Dash  Them  ; "  "  Deeper  and  Deeper 
Still,"  and  "I'll  Waft  her  Angels;"  "Total  Eclipse," 
and  "  Why  doth  the  God  of  Israel  Sleep,"  and  "  The 
Judgment  Hymn."  He  was  also  pleasing  in  the 
"  David  "  of  Neukom.  (though  in  that  he  fell  short  of 
Coburn  in  his  best  days,)  and  in  the  tenor  songs  from 
"  The  Creation." 

In  "  Sound  an  Alarm,"  "  Thou  shalt  Dash  Them," 
the  great  tests  of  a  tenor  in  "  Samson,"  and  "  The 
Judgment  Hymn,"  he  has  never  been  approached  here, 
and  the  most  daring  are  confounded  in  their  attempt  to 
imitate  his  surpassing  excellence. 

In  music  of  a  secular  character,  he  shone  most  bril 
liantly  when  delivering  "  Scots  wha  hae  wi'  Wallace 


374       RECORD  OF  THE  BOSTON  STAGE. 

bled,"  "  All  the  Blue  Bonnets  are  over  the  Border," 
"  The  Bay  of  Biscay,"  "  The  Death  of  Nelson,"  and 
"  The  Marseilles  Hymn."  His  fire  and  outpouring  of 
soul  in  these  moved  and  swayed  his  audience  to  a  degree 
few  tenors  ever  attained  with  our  cold  public.  "  Rocked 
in  the  Cradle  of  the  Deep,"  "  The  Soldier's  Dream," 
"  Robin  Adair,"  "  The  Last  Words  of  Marmion,"  "  The 
Evening  Gun,"  and  "  Kelvin  Grove,"  never  failed  to 
bring  out  his  wondrous  union  of  feeling  and  expression 
with  just  the  amount  of  execution  which  should  meet 
the  demands  of  the  music,  and  yet  not  smother  and 
conceal  the  sentiment.  John  Braham  was  a  marvel, 
and  those  who  missed  the  opportunity  to  hear  that 
greatest  musical  wonder  of  this  or  any  other  age,  must 
have  deeply  regretted  their  inadvertence.  He  retained 
his  energy  and  command  of  the  tenor  scale  longer  than 
any  other  man  has  ever  done,  Donzelli,  the  celebrated 
Italian  primo  tenore,  who  flourished  some  twenty  years 
since,  came  the  nearest  to  Braham  in  this  respect,  hav 
ing  acquitted  himself  well  in  Otello  at  Naples  when 
sixty  years  old ;  but  John  Braham  made  the  Birming 
ham  town  hall  ring  with  his  clarion  voice  at  the  age 
of  eighty,  and  last  winter  filled  Exeter  Hall  with  admir 
ing  throngs,  when  some  years  past  that  extreme  limit 
of  human  life. 

The  theatre  was  kept  opened  at  full  prices  until  Feb. 
10th,  a  period  of  twenty-five  weeks,  the  receipts  of 
which  were  $45,504.75.  It  was  then  closed,  but  re 
opened  on  the  15th  at  reduced  prices,  with  "  The 
Cataract  of  the  Ganges,"  a  fine  equestrian  troupe  hav 
ing  been  engaged.  "Napoleon,"  "Amalek,  the  Arab," 
and  "  Mazeppa,"  were  brought  out.  Mr.  Creswick  was 


RECORD    OF    THE    BOSTON    STAGE.  375 

the  hero  of  these  pieces,  and  he  delighted  not  only  the 
juveniles,  but  the  entire  public.  Mr.  and  Mrs.  Vanden- 
hoff,  Hill,  and  others,  appeared. 

The  first  half-price  night  brought  $603.13  to  the 
house,  and  the  average  receipts  for  many  weeks  at  the 
half  price  were  equal  to  the  average  of  full  prices. 
The  Woods,  at  full  prices,  averaged  for  three  weeks 
$2,886.50  ;  the  equestrian  corps  for  a  similar  length  of 
time,  at  half  price,  $2,033;  and  the  Vandenhoffs, 
$1,800.  Thus  the  half  price,  with  less  attraction  and 
less  expense  than  the  Woods,  produced  an  attendance 
greater  in  proportion,  and  the  receipt  of  nearly  as  much 
money.  The  gross  receipts  of  the  season  for  forty-two 
weeks  were  $70,250.67,  of  which  $18,531.14  were  paid 
to  stars. 


CHAPTER  XXVI. 

The  Last  Years  of  the  Tremont  Theatre.  —  Messrs.  Andrews  and  Pres 
ton.  —  The  Seguins.  —  Visit  of  the  Prince  de  Joinville.  —  Samuel 
Butler.  —  Boz.  —  Season  of  1842-3.  —  George  Vandenhoff.  —  The 
Broughams.  —  Josh.  Silsby.  —  Closing  Scenes  at  the  Tremont. — 
The  Last  Night.  —  First  Appearance  of  the  Learned  Blacksmith.  — 
•Destruction  of  the  Temple  by  Fire,  etc.  etc. 

MR.  JONES  relinquished  his  connection  with  the 
theatre  at  the  close  of  the  season  of  1840-1,  when  Mr. 
Geo.  H.  Andrews  and  John  Preston,  Esq.,  undertook 
its  management.  The  season  under  their  auspices  com- 


376  RECORD    OF    THE    BOSTON    STAGE. 

menced  on  the  23d  of  August,  when  the  "  Heir  at  Law," 
"33  John  Street,"  and  "Lottery  Ticket,"  were  per 
formed,  and  a  new  drop  act  from  the  pencil  of  Mr. 
Samuel  Stockwell,  fell  for  the  first  time.  The  company 
embraced  Mr.  and  Mrs.  John  G.  Gilbert,  Mr.  and  Mrs. 
J.  M.  Field,  Mrs.  "W.  H.  Smith,  Miss  Fisher,  Mrs. 
Cramer,  "VY.  F.  Johnson,  S.  Johnson,  Fenno,  Mr.  and 
Mrs.  Creswick,  etc.  Mr.  Comer  was  musical  director, 
Signer  Ostinelli  led  the  orchestra,  and  Miss  Fanny 
Jones  was  principal  danseuse.  The  leading  stars  were 
Hacket,  Forrest,  Mr.  and  Mrs.  Seguin,  Mr.  Manners, 
Elssler,  and  Sam.  Butler. 

The  Seguins  were  very  successful,  and '  occupied  a 
large  share  of  public  attention,  even  from  the  date  of 
their  first  appearance  in  this  city,  Nov.  5, 1838,  to  May, 
1847,  when  Marti's  Operatic  Company  eclipsed  in  their 
admirable  presentment  of  Italian  Opera,  all  the  glories 
of  former  dramatic  vocalists,  and  consigned  English 
opera  to  neglect.  When  Mr.  Seguin  first  appeared 
here  in  Rooker's  opera,  "  Anidie,  or  the  Love  Test,"  he 
produced  a  marked  sensation.  A  critic  upon  that  opera 
as  then  presented  at  Tremont  Theatre  for  the  first  time, 
says  of  him :  "  The  moment  Seguin  opened  his  mouth, 
one  universal  gape  of  astonishment  infected  all,  such  was 
the  wonder  produced  by  his  magnificent  organ.  At  the 
first  close  of  his  recitative,  the  most  enthusiastic  ap 
plause  appreciated  that  pure,  legitimate,  and  ponderous 
bass  ;  of  large  and  even  quality,  his  distinct  enuncia 
tion,  perfect  intonation,  and  such  a  body  of  tone,  that 
Lablache  alone  will  be  placed  above  him.  '  My  boy 
hood's  Home'  caused  an  immense  sensation."  Mrs. 
Seguin  appeared  in  opera  a  year  or  two  after  this,  and 


RECORD    OF   THE    BOSTON    STAGE.  377 

by  her  remarkable  versatility,  tact  in  management,  and 
intense  devotion  to  getting  up  the  operas,  frequently 
rehearsing  and  directing  all  day  and  singing  in  the 
evening,  pecuniary  success  for  a  long  time  crowned  the 
Seguins  with  laurels.  Her  best  character  was  undoubt 
edly  the  Bohemian  Girl,  and  his  Devilshoof,  in  that 
opera.  Both  were  clever,  and  taking  in  a  wide  range 
of  characters  by  a  pleasing  union  of  good  singing  with 
appropriate  action  and  excellent  by-play.  He  was 
probably  the  best  actor  that  ever  appeared  on  the 
operatic  stage,  when  the  character  suited  him,  and  he 
was  in  the  vein.  In  the  opera  just  alluded  to,  "  The 
Postillion,"  and  "  Massaniello,"  he  was  exactly  suited 
with  a  role  to  bring  out  the  humor  and  vivacity  so  pro 
fusely  given  by  nature.  Just  before  his  death,  Mr. 
Seguin  became  the  low  comedian  at  Wallack's  Lyceum 
in  New  York,  but  made  no  sensation  there,  and  his 
friends  regretted  that  close  of  a  brilliant  life,  especially 
when  it  was  found  that  no  pecuniary  distress  induced 
the  mistake. 

Fanny  Elssler,  supported  by  Mons.  Sylvain,  appeared 
on  the  13th  of  October,  and  attracted,  as  on  her  former 
visit,  crowded  houses.  Her  last  appearance  in  this  city 
was  on  the  17th  of  November,  when  she  gave  the  2d 
act  from  "  La  Sylphide,"  2d  scenes  of  "  La  Gipsey,"  and 
«  Jalleo  de  Xeres." 

On  the  22d  of  November,  James  Sheridan  Knowles' 
comedy  of  "  Old  Maids  "  was  brought  out,  and  run  for 
one  week,  when  it  was  shelved,  and  since  then  has 
rarely  if  ever  been  performed.  It  did  not  do  well  at 
the  Tremont,  but  this  was  not  entirely  owing  to  the 
want  of  merit  in  the  play,  but  to  the  great  outside  attrac- 


378  RECORD    OF    THE    BOSTON    STAGE. 

tion  of  the  Prince  de  Joinville,  and  that  never-to-be- 
forgotten  ball,  given  in  his  honor  at  Faneuil  Hall,  which 
had  more  powerful  attractions  than  the  theatre.  Mr. 
Sam.  Butler  from  London  next  essayed  to  attract  an 
audience,  and  Mr.  T.  C.  Grattan's  "  Ben  Nazir "  was 
brought  out,  for  the  first  time  in  America,  Dec.  6th. 
The  author  was  at  the  time  British  Consul  in  this  city. 
The  play  was  originally  written  for  Edmund  Kean,  and 
with  it  he  hoped  to  regain  his  position  in  the  theatrical 
world  of  London,  but  he  was  unable  to  commit  even 
the  words  to  memory,  and  it  proved  a  most  signal 
failure.  Kean  being  convinced  that  he  had  lost  the 
power  of  study,  never  afterwards  attempted  a  new  part. 
Mr.  Butler  did  what  Kean  could  not,  he  was  perfect  in 
the  text,  but  his  talents  were  not  of  that  stamp  to  present 
a  new  part  in  the  most  favorable  light,  though  he  gained 
applause  for  his  Hamlet  and  other  characters.  He  was 
a  man  of  commanding  figure,  and  after  his  return  to 
England,  became  unsuccessful  both  as  an  actor  and 
manager,  and  finally  resorted  to  drinking,  which  hastened 
his  death. 

The  theatre  in  December  was  closed.  The  full  prices, 
that  is  $1  to  the  boxes,  had  been  in  force,  and  it  proved 
almost  ruinous.  On  the  20th  of  December,  the  theatre 
after  a  temporary  close,  was  re-opened  at  half  prices, 
with  "  London  Assurance,"  which  was  given  with  the 
following  cast :  — 

Sir  Harcourt  Courtly,        ....  John  Gilbert, 

Charles  Courtly,  Creswick, 

Dazzle, Field, 

Meddle, Johnson, 

Cool, Fenno, 

Mr.  Spanker, S.  D.  Johnson, 


RECORD    OF    THE   BOSTON    STAGE.  379 

Lady  Gay  Spanker,        .        .  Miss  Charlotte  Cushman, 

Grace  Harkway,        .        .        .       Mrs.  Field, 
Pert, Miss  Fisher. 

Mr.  Gilbert's  Sir  Harcourt  was  not  generally  admir 
ed  ;  and  though  he  has  since  frequently  performed  it, 
has  never  given  satisfaction  to  the  critical.  At  this 
time,  in  fact,  Mr.  W.  R.  Blake,  the  best  Sir  Harcourt 
ever  probably  on  the  American  stage,  was  announced 
to  succeed  Mr.  Gilbert  in  this  part,  and  the  latter  taking 
umbrage,  retired  from  the  company.  Mr.  Field's  Dazzle 
has  only  been  equalled  by  John  Brougham,  who  is  the 
only  rival  that  ever  approached  the  original  presenta 
tion  by  Mr.  Field  in  this  city.  The  play  of  "  Nicholas 
Nickleby  "  was  revived,  and  on  Monday,  Jan.  24th,  Mr. 
Field  brought  out  his  Masque  Phrenologic,  entitled 
"  Boz,"  on  which  occasion  Charles  Dickens,  Esq.,  was 
present.  Mr.  Field  did  Boz,  and  a  most  correct  coun 
terpart  he  was.  The  masque  was  an  introduction  of 
Dickens'  leading  characters  upon  the  stage. 

The  result  of  twenty-five  weeks'  management  found 
Messrs.  Andrews  &  Preston  about  ten  thousand  dollars 
worse  off  than  at  the  commencement,  and  they  tendered 
the  lease  of  the  house  to  the  proprietors,  which  was 
accepted.  The  theatre  had  not  been  managed  in  all  its 
departments  as  it  should  have  been,  and  the  Boston 
Museum  performances,  at  twenty-five  cents,  were  com 
mencing  to  be  somewhat  attractive.  A  commonwealth 
was  then  formed  among  the  actors,  who  made  a  joint 
interest.  Under  this  system,  Mr.  Forrest  and  Miss 
Clifton,  Miss  Mary  Ann  Lee,  Miss  Julia  Turnbull, 
Herr  Driesbach  and  his  lions,  appeared.  A  paying 
business  was  done  at  first;  but  before  the  season  closed , 


380  RECORD    OF    THE    BOSTON    STAGE. 

trouble  broke  out  in  the  company,  relative  to  the  appear 
ance  of  Mrs.  Cramer,  who  had  previously  left  the  com 
pany,  and  Johnson  and  Field  indulged  in  a  set-to  in  the 
box-office.  This  matter  was  called  up  on  a  night  of 
performance,  and  Mr.  Child,  the  treasurer,  came  out 
and  explained  matters.  The  theatre  closed  in  June,  to 
the  regret  of  no  one. 

The  season  of  1842-3,  and  the  last  at  this  theatre, 
was  opened  by  J.  S.  Jones.  It  commenced  on  the  5th 
of  September,  with  "  Poor  Gentleman,"  and  "  A  Roland 
for  an  Oliver."  Messrs.  Chapman,  J.  C.  Howard,  and 
Mr.  and  Mrs.  Greene,  were  members  of  the  company. 
On  the  15th  of  November,  Mr.  George  Vandenhoff 
appeared  at  the  Tremont,  as  Hamlet,  a  part  of  which 
his  father  stands  pre-eminently  the  representative,  in 
the  memory  of  all  theatre-goers.  The  success  of  the 
son,  however,  was  commensurate  with  his  abilities. 
Mr.  Jones  brought  out  this  season  "  The  Braziers  of 
Naples,"  which  had  a  good  run.  In  the  month  of  Jan 
uary,  1843,  Mr.  Thomas  Barry  played  a  short  engage 
ment,  and  in  the  same  month  Mr.  and  Mrs.  John 
Brougham,  then  lately  from  England,  though  they  had 
visited  New  York  and  Philadelphia,  just  previous  to 
their  Boston  visit,  played  a  good  engagement.  They 
opened  in  the  "  Love  Chase."  Mr.  Brougham  appeared 
as  Dazzle,  and,  though  it  was  very  acceptible,  was  ob 
jected  to  by  some  as  being  too  much  of  an  Irishman. 
Mr.  Gilbert  played  Sir  Harcourt,  Mrs.  Brougham  Lady 
Gay,  and  Mrs.  W.  H.  Smith  Grace  Harkway.  Mr. 
Ayling  and  Mr.  Leman  were  also  in  the  play.  Josh. 
Silsbee,  who  has  since  acquired  considerable  reputation 
abroad,  Mr.  Forrest,  Miss  Clifton,  Professor  Risley, 


RECORD    OF    THE    BOSTON    STAGE.  381 

and  his  son,  the  Olympic  Circus,  H.  P.  Grattan,  and 
the  Ravel  Family,  were  the  leading  attractions.  The 
performances  of  Risley  and  his  son  have  since  been 
imitated,  but  never  equalled.  He  was  Magnus  Apollo  in 
comeliness,  a  Hercules  in  strength,  and  the  son  a  Cupid 
in  beauty.  Of  all  exhibitions  of  physical  grace  in  clas 
sical  posturing  they  surpassed  any  we  have  ever  seen. 
The  throwing  of  the  boy  into  the  air,  who  turned  a 
somerset  and  alighted  safely  on  his  father's  feet,  invari 
ably  drew  forth  the  loudest  applause.  Risley,  previous 
to  his  arrival  here,  narrowly  escaped  death  by  the 
earthquake  at  Port-au-Petre.  He  subsequently  visited 
England,  where  his  little  boy  became  the  pet  of  the 
nobility. 

The  closing  scenes  at  the  old  Tremont  may  be  briefly 
related.  In  the  month  of  June,  1843,  on  the  17th, 
President  Tyler  visited  Boston,  to  attend  the  ceremonies 
attending  the  completion  of  Bunker  Hill  Monument, 
when  WEBSTER  delivered  the  oration.  The  theatre 
that  week  was  thronged  with  strangers,  and  a  perfor 
mance  was  given  on  Saturday  evening  to  accommodate 
the  hundreds  that  were  here  from  the  country.  The 
proprietors,  having  concluded  the  sale  of  the  theatre  to 
Rev.  Mr.  Colver's  Baptist  Society,  the  last  night's  per 
formances  were  announced  for  the  benefit  of  the  man 
ager,  J.  S.  Jones,  June  23,  1843,  when  "The  Poor 
Gentleman,  two  dances  by  Fanny  Jones,  and  "  A  Lover 
by  Proxy,"  filled  up  the  bill  of  entertainment. 

At  the  close  of  the  acting,  the  entire  dramatis  persona, 
consisting  of  nearly  twenty  individuals,  male  and  female, 
advanced  towards  the  foot-lights  arranged  in  crescent 
form,  and  executed  a  charming  Scotch  air  with  much 


382  RECORD    OF    THE    BOSTON    STAGE. 

effect,  accompanied  with  obvious  strong  emotions  in 
their  parting  adieus  to  the  community  who  had  bestowed 
on  their  efforts  its  long  sustaining  rays  of  patronage. 
Loud  and  repeated  huzzas,  with  constant  waving  of  hats 
and  handkerchiefs,  followed  the  piece,  which  was  suc 
ceeded  by  a  spontaneous  call  from  the  whole  audience 
for  Mr.  Jones.  In  compliance  with  it,  in  a  moment  or 
two  he  appeared  before  his  patrons,  and  addressed  them 
in  a  very  appropriate  manner.  During  its  delivery  his 
manner  indicated  deep  feeling,  oppressed  with  heart 
felt  regret,  in  contemplating  the  change  that  was  about 
to  take  place  in  that  temple  of  the  muses.  The  edifice 
was  raised  and  dedicated  to  illustrate  the  histrionic  art. 
It  was  adapted  to  such  purpose,  and  to  no  other  properly. 
It  could  have  been  conducted  in  that  manner  which 
would  have  fully  carried  out  its  tasteful  and  public 
spirited  founders.  It  had  been  the  resort  of  the  elite, 
the  refined,  the  respectable,  and  the  moral  of  both  sexes 
and  of  all  ranks.  He  thanked  these  classes  for  their 
support  during  his  management.  The  doctrine  had 
been  industriously  circulated,  that  the  drama  was  on 
the  decline;  but  this  was  not  so,  as  when  he  had  en 
gaged  considerable  attraction,  the  house  was  not  near 
large  enough  to  admit  the  throng  that  endeavored  to 
press  within  its  walls.  It  could  have  been  altered  to 
have  answered  this  object,  and  then  it  would  have  been 
profitable  to  all  parties  interested.  If  ever  there  was  a 
time  for  a  manager  to  make  a  speech,  this  was  the  hour. 
But  he  was  unused  to  public  speaking,  though  if  it  were 
otherwise,  he  should  not  enlarge  on  the  causes  which 
will  transform  the  theatre  into  another  institution.  He 
could  do  so,  and  show  that  they  did  not  originate  so 


RECORD    OF    THE    BOSTON    STAGE.  383 

much  in  a  desire  for  private  and  public  good,  as  the 
unworthy  motives  to  subserve  the  base  designs  of  aver 
sion  and  bigotry.  Yet  he  forbore.  The  truth  would 
hereafter  appear.  In  conclusion,  he  thanked  the  audi 
ence  for  their  uniform  kindness,  and  respectfully  and 
sincerely  bade  them  farewell.  His  remarks  were  con 
tinually  interrupted  by  enthusiastic  applause. 

The  next  speaker  called  for  was  Boston's  favorite 
son,  Mr.  John  Gilbert.  He  came  forward  and  spoke 
some  minutes,  expressing  the  same  views  as  those  of 
Mr.  Jones,  with  reference  to  the  drama  and  the  altera 
tions  soon  to  take  place  on  that  stage.  The  house  was 
the  appropriate  place  for  his  profession,  and  for  nothing 
else.  It  was  built  at  great  expense  for  that  object,  and 
should  be  devoted  to  it.  There  were  defects  in  the 
drama,  but  they  could  be  removed  by  judicious  manage 
ment,  and  all  its  objectionable  traits  effaced,  whereby 
the  most  scrupulously  fastidious  might  be  satisfied  that 
it  was  a  good  institution,  and  be  induced  to  patronize  it. 
He  was  a  Boston  boy,  and  he  felt  for  the  honor  of  the 
place  of  his  nativity,  in  the  prospect  of  his  fellow-citizens 
permitting  the  drama,  which  was  one  of  the  instruments 
of  social  refinement  and  mental  cultivation,  to  go  down 
in  darkness.  No  one  regretted  the  aspect  of  gloom  that 
hung  round  its  destiny  more  than  Mr.  Gilbert,  who  had 
been  associated  in  this  city  with  this  house  from  the 
moment  it  was  built.  Yet  he  would  not  despair.  There 
was  a  redeeming  spirit  in  his  fellow-citizens.  He  could 
not  bring  himself  to  believe  they  would  allow  such  a 
result ;  and,  therefore,  he  would  not  take  his  last  leave 
of  them,  but  merely  bid  them  good  night.  He  bowed 
and  retired  amidst  constant  cheering. 


384  RECORD    OF    THE    BOSTON    STAGE. 

A  call  was  then  made  on  Mr.  J.  M.  Field,  but  he  did 
not  appear.  Mr.  Blake,  of  another  establishment,  here 
rose  in  the  proscenium  box,  and  stated,  that  sixteen 
years  ago,  on  the  opening  of  the  Tremont  Theatre,  he 
delivered  the  introductory  poetical  address  upon  its 
boards ;  and  now,  by  a  singular  novel  occurrence,  he 
found  himself  placed  in  a  position  where,  perhaps,  he 
might  utter  the  last  words  within  its  walls  in  its  behalf. 
He  would  embrace  that  fortunate  opportunity.  He 
then  went  into  a  defence  of  the  drama,  considered  and 
answered  the  principal  objections  to  it  in  an  able  man 
ner  ;  showed  they  were  unsound,  and  the  offspring  of 
ignorance  and  prejudice,  combined  with  the  cant  of  the 
day.  He  proved  that  this  institution  had  been  in  ancient 
days,  and  is,  and  will  continue  to  be  in  coming  genera 
tions,  the  handmaid  of  mental  and  moral  improvement. 
It  always  had  been  attacked  by  fanaticism,  without 
sound  reason.  Its  use  was  one  thing ;  its  abuse  another, 
and  a  very  different  thing.  For  that,  it  should  not  be 
condemned.  Religion  itself  had  been  abused.  He 
respected  true  piety,  but  not  that  assumed  sanctity 
which  had  assailed  the  drama,  and  to  which  this  institu 
tion  might  be  sacrificed.  The  test  of  virtue  was  found 
in  acts,  not  words.  By  this  rule,  he  was  perfectly 
willing  to  institute  a  comparison  between  the  lives  of 
actors  and  actresses  and  those  religious  zealots  who 
believed  themselves  to  be  alone  righteous,  and  despised 
others,  the  members  of  his  profession.  In  the  hour  of 
affliction,  at  the  bedside  of  the  sick  and  the  dying,  he 
had  often  witnessed  the  conduct  of  the  two  parties.  He 
had  seen  the  actress  smooth  the  pillow,  administer  the 
medical  drug,  and  speak  words  of  consolation  to  the 


RECORD    OF    THE    BOSTON    STAGE.  385 

expiring  patient,  when  the  assumed  pious  fled  from  the 
contagion  of  the  fatal  disease  ;  he  had  witnessed  the 
burial  by  actors  when  even  ministers  shrunk  from  the 
performance  of  their  duty.  Such  scenes  were  frequent 
among  his  profession,  and  he  submitted  which  had  the 
best  claim  to  be  called  Christians.  The  sketches  of 
benevolence  the  speaker  drew  were  touching,  and  lis 
tened  to  with  silent  attention,  and  at  the  end  applauded 
with  hearty  feeling.  Previous  to  leaving  the  house,  the 
audience  gave  nine  enthusiastic  cheers,  and  separated 
with  manifest  regret  that  this  cherished  institution,  the 
work  of  their  fathers,  an  ornament  and  a  boast  of  the 
metropolis,  should  be  converted  from  the  original  inten 
tion  of  its  builders. 

The  theatre  had  been  opened  forty-two  weeks.  The 
expenses  of  the  stock  company  for  thirty  weeks  were 
$900  per  week,  and  a  reduction  was  then  made  for  the 
remaining  twelve  weeks,  which  averaged  $700,  making, 
with  the  amount  paid  to  stars,  $15,095.02,  the  gross 
sum  of  $50,495.02.  The  largest  receipt  any  one  night 
was  $734.37,  and  the  gross  receipts  for  the  season  were 
$47,525.25,  leaving  the  deficiency  of  about  three  thou 
sand  dollars.  Such  was  the  result  of  the  last  theatrical 
season  at  the  Tremont  Theatre. 

On  the  evening  of  June  26th,  the  learned  blacksmith, 
Elihu  Burritt,  delivered  a  lecture  in  the  theatre,  the 
nett  proceeds  of  which  went  towards  defraying  the  cost 
of  the  alteration  of  it  into  a  church,  which  was  done  at 
an  expense  of  about  $25,000.  A  portion  of  the  build 
ing  was  arranged  for  stores,  offices ;  and  the  large  hall, 
used  on  Sunday  as  a  place  of  worship,  was,  on  week 
days  and  evenings,  let  for  miscellaneous  meetings, 
25 


$86  RECORD    OF   THE    BOSTON    STAGE. 

political  caucuses,  concerts,  lectures,  etc.,  and  the  name 
of  the  "  TREMOXT  TEMPLE  "  was  given  to  the  edifice. 
The  Mercantile  Library  Association  here  held  their 
popular  series  of  lectures,  and  Webster,  Choate,  and 
Everett,  pou.red  forth  their  eloquence  to  delighted 
audiences  within  its  walls.  It,  was  here  that  Jenny 
Lind,  Kate  Hayes,  and  others,  charmed  enthusiastic 
auditories  ;  and  it  was  here  also  that  Gliddon  discovered 
the  sex  of  Anch-pa-mach,  to  the  astonishment  of  those 
who  witnessed  the  unrolling  of  the  mummy. 

In  1849,  the  edifice  narrowly  escaped  destruction  by 
fire,  which  originated  in  the  basement;  and  it  was 
finally  destroyed  by  fire  on  the  morning  of  Wednesday, 
March  31,  1852.  At  this  conflagration,  Mr.  John  Hall, 
a  carpenter,  lost  his  life,  and  George  Estee,  a  fireman, 
was  injured  for  life.  The  total  loss  of  property  was 
very  large,  as  the  building  was  occupied  by  artists, 
dentists,  etc.,  whose  actual  loss  could  not  be  ascertained. 
Mr.  Thomas  Thompson,  a  gentleman  of  this  city,  had 
in  the  attic  a  large  number  of  valuable  paintings  and 
statues,  all  of  which  were  destroyed.  The  fire  likewise 
communicated  to  Chapman  Hall  and  other  adjacent 
buildings,  which  were  destroyed. 

The  proprietors  soon  determined  to  rebuild  the 
Temple,  and  a  large  and  beautiful  edifice,  containing  a 
fine  music  hall,  now  occupies  the  site  where  formerly 
stood  the  Tremont  Theatre.  The  architect,  Mr.  Wm. 
Washburn,  has  combined  economy  of  room  with  elegance 
of  accommodation,  and  the  greatest  ingenuity  is  exhibited 
in  the  introduction  of  light  into  the  passage  ways  and 
rooms. 


RECORD    OF   THE    BOSTON    STAGE.  387 


CHAPTER    XXVII. 

The  re-opening  of  the  Boston  Theatre.  —  0.  C.  Wyman,  Esq.  —  The- 
Seguins.  —  The  Howard  Athenaeum.  —  Mr.  and  Mrs.  Charles 
Kean.  —  Edwin  Forrest.  —  Mr.  Fleming.  —  The  Museum.  —  King 
John.  —  The  Viennoise  Children.  —  Titus  A.  Peep,  Esq.  —  C.  R. 
Thorne.  —  The  last  Season.  —  Messrs.  Wright,  Fenno  &  Co.,  etc. 
etc. 

THE  re-opening  of  the  Boston  Theatre,  in  1846,  for 
theatrical  representations,  brings  us  once  more  to 
chronicle  the  progress  of  the  drama  under  its  time- 
honoured  roof.  For  many  years  it  had  been  used  as  a 
lecture  room,  or  occupied  by  musical  and  religious  so 
cieties  for  their  exercises.  Mr.  Oliver  C.  "Wyman,  by 
the  advice  of  many  friends,  in  1846,  leased  the  build 
ing,  and  at  once  restored  the  interior  to  its  original 
adaptation.  It  was  a  hazardous  undertaking,  but  the 
lessee  being  amply  qualified  for  his  post,  nothing  was 
wanting  to  ensure  its  success  on  the  score  of  man 
agerial  ability,  but  unforeseen  circumstances  prevented 
the  accomplishment  of  that  end,  which,  under  more 
favourable  auspices,  would  have  resulted  from  this  at 
tempt  to  render  Old  Drury  once  more,  the  theatre  of 
Boston.  The  interior  arrangements  were  somewhat 
faulty  in  design,  and  alterations  were  subsequently 
made.  The  company  engaged  was  numerous  and 
effective,  embracing  Mr.  and  Mrs.  Gilbert,  Mr.  and. 
Mrs.  Bland,  (formerly  Miss  Faucet,)  Mrs.  W.  H. 
Smith,  Mr.  Phillips,  Mrs.  Cramer,  Mrs.  Mueller,  Miss 
Wagstaff,  Miss  Bouquet,  etc.,  with  Brougham,  Fleming,. 


RECORD    OF    THE    BOSTON    STAGE. 

T.  Placide,  Whitney,  Stevens,  etc.     The  managerial 
corps  was  organized  as  follows  :  — 


Mr.  0.  C.  Wyman. 

Stage  Manager, John  G.  Gilbert. 

Treasurer, Charles  Craft. 

Prompter, H.  J.  Conway. 

Leader  of  Orchestra,  and  Musical  Director,  C.  H.  Mueller. 

Principal  Scenic  Artist,      .        .        .  S.  B.  Stockwell. 

Machinist,      .        .        .        .        .        .  D.  P.  Elsworth. 

Costumer, S.  D.  Johnson. 

Property  Maker,  ....  Andrew  Spence. 

The  opening  night  was  August  24, 1846.  The  plays 
•were,  "  Speed  the  Plough,"  a  d  the  "  Irish  Lion,"  cast 
to  the  entire  strength  of  the  company,  and  the  house  was 
filled  in  every  corner  by  not  only  those  who  in  years 
previous  had  here  received  their  choicest  theatrical 
.entertainments,  but  by  many  who  hailed  with  pleasure 
the  dawn  of  a  new  era  in  the  production  of  the  legit 
imate  drama  in  this  city. 

A  Prize  Address,  written  by  Mrs.  Frances  S.  Osgood, 
was  spoken  by  Mr.  Gilbert.  As  a  composition,  it  is 
meritorious,  but  it  was  not  adapted  to  the  occasion. 
Many  anticipated  that  the  poet  would  recall  the  scenes 
of  the  past,  in  which  Old  Drury  was  so  richly  endowed, 
but  the  Muse  was  content  with  recalling  to  recollection 
the  leading  characters  of  the  drama,  closing  with  the 
following  lines  :  — 

"  Here  the  lithe  spirit  of  the  dance  shall  spring,        • 
Like  an  embodied  zephyr  on  the  wing. 
Here,  top,  the  soul  of  song  shall  float  in  air, 
And  on  its  wings  your  hearts,  enchanted,  bear; 
Ah !  yield  to  them,  to  us,  the  meed  we  claim,  — 
Your  smiles  to  light  the  path  that  leads  to  fame. 


RECORD    OF    THE   BOSTON    STAGE.  389 

So  shall  this  life  of  mockery  seem  more  sweet, 
And  flowers  shall  rise  to  rest  our  pilgrim  feet, 
While  from  our  lips,  inspired  by  hope  divine, 
Like  fire  shall  flow  the  bard's  melodious  line." 

The  act  drop,  by  Stockwell,  was  a  well  designed  and 
spiritedly  finished  picture  of  "  Athens  as  it  is,"  repre 
senting  the  modern  city  and  the  ancient  ruins  in  one 
comprehensive  view.  Mr.  George  Barrett  appeared, 
Mr.  Henry  Placide  played  two  engagements  this  sea 
son,  one  of  which  was  very  good.  His  Sir  Peter  Teazle 
was  a  finished  performance,  and  his  Haversack  in 
"  Napoleon's  Old  Guard,"  will  long  be  remembered. 
The  "  Comedy  of  Errors  "  was  brought  out  during  his 
engagement,  and  the  Two  Dromios  were  played  by 
Messrs.  H.  and  T.  Placide.  Mr.  J.  W.  Wallack  made 
his  first  appearance,  after  an  absence  of  two  years,  on 
the  14th  September,  1846,  when  he  played  Benedict 
and  Dick  Dashall.  His  share  of  a  fortnight's  engage 
ment  was  about  $1200,  and  the  most  popular  piece  was 
"  Don  Cassar  de  Bazan,"  which  drew  upwards  of  $600 
nightly. 

The  Seguin  Operatic  Troupe  succeeded  Wallack.  It 
was  composed  of  Mr.  and  Mrs.  Seguin,  Mr.  Frazer  and 
Mr.  Meyer ;  and  the  operas  of  the  "  Postillion  of  Lon- 
jumeau,"  "  La  Sonnambula,"  "  Don  Pasquale,"  "  Brew 
er  of  Preston,"  "  Bohemian  Girl,"  and  "  Norma,"  were 
brought  out.  Balfe's  "  Bohemian  Girl "  drew  the  largest 
house,  $712,  and  the  Seguin  Troupe,  for  a  three  weeks' 
engagement,  received  about  $2,500. 

It  was  during  the  Seguins'  engagement  at  the  Old 
Theatre,  that  the  present  Howard  Athenaeum  was 
opened  (Oct.  5,  1846)  by  James  H/  Hackett  &  Co., 


390  RECORD    OF    THE    BOSTON    STAGE. 

which  had  some  effect  upon  the  close  of  their  engage 
ment. 

Boston  was  again  possessed  of  two  first-class  theatres, 
after  an  interval  of  several  years,  and  the  struggle 
for  superiority  was  strong.  On  the  19th  of  October, 
Mr.  and  Mrs.  Charles  Kean  commenced  an  engagement 
at  the  Boston  Theatre,  with  the  "  Gamester."  The 
remembrance  of  Ellen  Tree  drew  forth  the  fashionable, 
and  a  brilliant  audience  was  in  attendance,  though  the 
receipts  were  only  $505.80.  "  Ion  "  drew  $622.65,  and 
two  benefits  averaged  $700.  The  opposition  at  the 
Howard  Athenaeum,  during  the  Keans'  engagement, 
would  have  seriously  affected  less  brilliant  stars.  On 
one  evening  at  the  Howard,  Mrs.  Mowatt,  Madame 
Augusta,  Md'lle  Dernier,  George  Vandenhoff,  and 
Davenport,  all  appeared ;  a  combination  that  would, 
if  presented  now,  attract  a  thousand  dollar  house.  Mr. 
Wallack  succeeded  the  Keans,  but  the  engagement  was 
"  poor  business,"  all  round  ;  but  on  the  16th  of  Novem 
ber,  that  never-failing  attractive  star,  Edwin  Forrest, 
came  to  the  relief  of  the  management,  and  brought  to 
the  house  good  and  paying  audiences,  as  the  reader 
will  see  by  the  following  receipts  of  the  first  six 
nights  :  — 


46.     Nov( 

;mber  16, 
17, 

18, 
19, 

King  Lear, 
Othello, 
Metamora, 
Macbeth, 

• 

20, 
*      23, 

Damon  and 
Metamora, 

Pythias 

$3,953  45 

'The  engagement    continued    through   three   weeks, 


RECORD    OF    THE    BOSTON    STAGE.  391 

(Booth  at  the  Howard,)  and  Mr.  Forrest's  share  was 
upwards  of  $4,000.  On  the  night  of  his  benefit,  he 
played  Claude  Melnotte  to  Mrs.  Eland's  Pauline,  and 
to  an  audience  of  $722.14.  It  was  during  this  engage 
ment  that  Mr.  W.  M.  Fleming,  the  present  acting 
manager  at  the  National,  first  received  from  the  Boston 
public  that  meed  of  praise,  which  he  merited  by  his 
very  able  support  of  the  great  American  tragedian.  It 
gives  us  pleasure  to  record  that  Mr.  Fleming  has 
never  forfeited  the  good  opinion  then  so  warmly  ex 
pressed  by  the  press  and  the  people,  and  still  continues 
one  of  Boston's  favorites  in  his  line  of  business.  For 
correctness  in  the  text,  he  is  noted,  and  his  undivided 
attention  is  invariably  given  to  whatever  he  attempts. 

After  Forrest,  Mr.  James  Murdoch  came,  but  the 
attractions  at  the  Howard  (Miss  Mary  Taylor,  Hackett, 
VandenhofF,  Crisp,  Warren)  were  too  powerful,  and 
the  receipts  rarely  exceeded  $100.  The  same  may  be 
said  of  Mr.  Placide's  second  engagement,  though  there 
was  a  temporary  revival  of  the  interest  in  the  perform 
ances  at  this  theatre,  when  Mrs.  George  Barrett  was 
called  on  to  sustain  Mr.  Placide,  in  the  leading  female 
parts.  The  receipts,  when  entirely  dependent  upon  the 
stock  company,  did  not  on  some  nights  exceed  $50,  and 
the  weekly  expenses  averaged  about  $800. 

The  Museum  at  this  time  was  coming  into  notice, 
and  assuming  a  position  among  the  theatrical  entertain 
ments  of  the  day.  Messrs.  Smith,  Mestayer,  Hunt, 
Mrs.  Knight,  were  there,  and  plays  were  presented 
with  that  care  and  attention  which  has  since  brought 
this  place  so  favorably  into  public  notice.  The  National, 
under  Pelby,  was  also  doing  a  good  business,  by  cater- 


392  RECORD    OF    THE    BOSTON    STAGE. 

ing  to  the  "  blood-and-thunder  "  taste  of  the  lower  half 
million  ;  and,  as  we  have  stated,  Racket,  at  the  Howard, 
was  straining  every  nerve  to  produce  attractions.  •  Un 
der  these  disadvantageous  circumstances,  none  of  the 
managers  were  reaping  a  very  great  harvest.  Mr. 
Wyman  commenced  at  this  time  a  correspondence  with 
Kean,  to  bring  out  "  King  John  "  with  his  splendid 
dresses,  etc.,  as  produced  at  the  Park  Theatre  in  New 
York,  very  generously  offering  to  expend  a  large  sum 
in  getting  it  up,  provided  Mr.  Kean  would  divide  after 
one  hundred  per  night,  but  he  insisted  upon  half  the 
gross  receipts.  This  Mr.  Wyman  refused  to  give, 
unwilling  to  run  so  great  a  risk.  It  was  unfortunate 
for  both,  that  some  arrangement  was  not  entered  into. 
The  Viennoise  Children  arriving  in  New  York,  Mr. 
Simpson  cut  Mr.  Kean  short  at  the  Park,  and  for  eight 
weeks  he  was  idle,  at  a  loss  to  him  of  several  thousand 
dollars.  Had  Mr.  Kean  accepted  Mr.  Wyman's  pro 
posals,  he  "would  have  been  at  the  Boston  when  the 
Viennoise  were  at  the  Howard,  and  their  immeifse 
attraction  would  in  a  great  measure  have  been  equalled 
by  "  King  John."  Failing  in  this,  the  "  Forty  Thieves," 
and  "  Beauty  and  the  Beast,"  were  the  chief  attractions 
at  the  Boston,  to  offset  the  forty-two  Viennoise  children, 
till  the  Seguin  Troupe  arrived.  The  result  was  dis 
astrous  to  the  fortunes  of  the  Boston  Theatre.  The 
novelty  of  the  Viennoise  attracted  for  many  weeks, 
while  the  Boston  was  doing  but  little.  An  occasional 
benefit,  of  a  member  of  the  stock,  drew  a  good  house. 
John  Brougham's  extravaganza  of  "  Titus  a  Peep," 
attracted  $359.88.  This  was  a  local  farce,  founded 
upon  the  following  incident.  On  an  evening  when  Mr. 


RECORD    OF    THE    BOSTON    STAGE.  393 

Forrest  was  performing,  some  gentlemen  who  hai 
indulged  in  rather  more  than  their  heads  could  con 
veniently  bear,  occupied  the  stage  box,  and  were  so 
boisterous  in  their  talk  as  to  interrupt  Mr.  Forrest, 
who  coming  down  from  the  stage,  met  "Acorn"  behind 
the  scenes,  and  at  once  remonstrated.  "  Never  mind 
them,"  said  Acorn  ;  "  they  have  been  requested  to  keep 
more  quiet,  but  the  truth  is  —  they  are  tight  as  peeps" 
Mr.  Forrest,  misunderstanding  the  reply,  remarked, 
that  he  did  n't  know  who  Titus  A.  Peep  was,  but  he  was 
bound  to  have  him  put  01  t,  if  he  made  any  farther  dis 
turbance.  The  season  closed  on  the  loth  of  March, 
when  Mr.  Crafts  took  a  benefit,  and  Mr.  Wyman,  who 
had  fitted  up  the  house  at  a  great  expense  of  $20,000, 
retired  from  the  lesseeship  much  poorer  than  when  he 
commenced. 

Mr.  Charles  R.  Thome  became  the  next  manager  of 
the  Boston,  opening  that  house  on  the  21st  of  June, 
1847,  for  the  purpose  of  presenting  the  Viennoise 
Children,  who  continued  till  the  4th  of  July.  Under 
Mr.  Thome's  management,  the  dramatic  season  of 
1847-8  was  commenced  on  the  16th  of  August,  his 
stock  company  embracing  Mr.  and  Mrs.  Thorne,  Mrs. 
Cramer,  Miss  Mestayer,  Mrs.  Mueller,  Messrs.  Neaifie, 
McFarland,  Spear,  W.  F.  Johnson,  all  of  whom  ap 
peared  on  the  opening  night  in  the  comedy  of  the 
"  Honeymoon."  Mr.  J.  B.  Booth,  Jr.,  was  also  a 
member,  and  in  some  part  gave  promises  of  future 
eminence,  which  promises,  we  regret,  have  never  been 
realized.  The  star  engagements  were  with  Mr.  C. 
"Webb,  French  Ballet  Company,  Wallack,  Booth,  (who 
played  Othello  to  his  son's  lago,)  Forrest,  Anderson, 


394       RECORD  OF  THE  BOSTON  STAGE. 

E.  S.  Conner,  Madame  Anna  Bishop's  Opera  Company, 
Jim  Crow  Rice,  etc.  etc. 

The  leading  stock  pieces  brought  out  were  the  "  Last 
Days  of  Pompeii,"  and  "  Mazeppa." 

In  the  fall  of  1848,  (Nov.  6,)  Messrs.  Welch,  Delvan 
&  Nathans,  gave  their  equestrian  pantomimic  and  dra 
matic  performances  at  the  Boston,  and  had  a  very  pros 
perous  season.  From  this  time  it  was  opened  by  various 
adventurers,  and  for  many  purposes.  Miss  Cushman 
played  an  engagement  here  after  her  return  from 
Europe.  In  1850,  the  Ravels  leased  it,  and  did  an 
immense  business,  and  in  1851,  Macallister  the  magician 
attracted  full  and  fashionable  houses  for  a  period  of  ten 
weeks.  Still  later,  Parodi,  under  the  auspices  of  Mr. 
"Walker,  appeared  at  this  theatre. 

On  the  13th  of  April,  1852,  the  theatre  and  land  were 
offered  at  public  sale.  On  the  front  lot  in  Federal  St., 
$4.25  was  bid ;  but  the  sale  was  postponed,  and  in  a 
few  days  was  sold  at  private  sale,  to  Messrs.  Merriam, 
Brewer  &  Co. 

On  the  night  of  the  22d  of  April,  1852,  the  National 
Theatre  was  destroyed  by  fire.  Messrs.  Wright,  Fenno 
&  Co.,  the  lessees,  at  once  applied  to  Messrs.  Merriam, 
Brewer  &  Co.,  for  the  use  of  the  old  theatre.  The 
property  was  not  then  in  their  possession,  and  the 
stockholders  of  the  Boston  Theatre,  having  concluded 
the  sale,  were  fearful  that  some  accident  might  cause  a 
fire,  and  the  sale  would  be  vitiated.  Messrs.  Merriam, 
Brewer  &  Co.,  with  great  generosity,  and  from  sym 
pathy  with  the  managers  of  the  National  in  their  dis 
tress,  at  once  agreed  to  take  the  theatre,  at  the  time 
agreed  upon,  taking  all  risk  upon  themselves.  This 


RECORD    OF    THE    BOSTON    STAGE.  395 

decision  gave  Messrs.  Wright,  Fermo  &  Co.  a  field  to 
operate  in,  and  the  bills  were  out  the  same  day  for  the 
opening  of  the  Boston,  with  "  Love's  Sacrifice,"  and 
"  Caught  in  his  own  Trap  ;"  thus  enabling  Mrs.  Sin 
clair  and  Mr.  Vandenhoff  to  complete  the  engagement 
they  had  commenced  at  the  National.  The  receipts  of 
this  brief  and  last  theatrical  season  at  the  Boston  The 
atre  were  as  follows  :  — 

1852. 

April  22,  Love's  Sacrifice,  Caught  in  his  own  Trap,        .        $406  87 
"     23,      "  "        Sketches  in  India,      .        .        .370  75 

"     26,  Lady  of  Lyons,  and  Highway  Rob.,  .         .  436  00 

;<     27,  Much  Ado,  and  Two  Queens,        .        .        .        .      385  25 
"      "  "  Auction  Sales,         ....  28  00 

"     28,  Lady  of  Lyons,  and  Sketches  in  India,         .        .      322  25 
Vandenhoff 's  Benefit,  Auction  Sales,        .  15  87 

"     29,  Much  Ado,  and  Rough  Diamonds,         .         .         .       254  37 
"      "  Auction  Sales,        ....  9  12 

"  30,  Patrician's  Daughter,  and  Queen's  Husband,  .  280  87 
May  3,  Irigomar,  and  Swiss  Swains,  .  .  .  227  37 

"       4,        "        King  and  Carpenter,       .        .        .  162  50 

"       5,  School  for  Scandal,  Governor's  Wife,      .        .  252  37 

"       6,  Benefit  of  the  National  Company,  Mrs.  Sinclair  and 

Mr.  Vandenhoff  volunteer,       ....      167  12 
"       7,  Lady  of  Lyons,  2d  act, -and  School  for  Scandal,  Mrs. 

Sinclair's  Benefit  and  last  appearance,        .          350  00 
"        8,  Afternoon    Miscellaneous    Performance  by   Stock 

Company,         .        .        .        .        .        .        .        17  87 

On  the  closing  night  of  this  house,  by  the  National 
company,  William  Shimmin,  Esq.,  of  this  city,  was 
present,  and  witnessed  the  last  fall  of  the  curtain,  hav 
ing  been  one  of  the  audience  that  hailed  the  opening  of 
the  Boston  Theatre  on  the  3d  of  February,  1794. 

On  Saturday  evening,  the  Aurora  Dramatic  Club 
played  for  the  benefit  of  the  sufferers,  giving  "  Speed 


396  RECORD    OF    THE    BOSTON    STAGE. 

the  Plough,"  and  "  A  Nabob  for  an  Hour,"  the  last 
performance  given  at  the  Boston  Theatre.  The  house 
was  bad. 

The  enterprise  of  Messrs.  Wright,  Fenno  &  Co.,  in 
thus  opening  the  theatre,  was  a  dramatic  triumph ;  for 
though  the  old  theatre  was  stocked  with  scenery,  the 
wardrobe  was  lacking,  and  many  members  of  the  com 
pany  had  lost  their  all  by  the  fire  of  the  night  previous. 
The  opening  exclamation  of  St.  Loo  in  the  play  per 
formed,  where  he  says, — 

"  Drained  to  the  bottom,  and  my  pocket  made 
What  prudent  Nature  loathes,  a  vacuum !  • 
I  am  an  empty  bag,"  etc.  — 

was  too  true  of  many  an  actor,  who  played  that  night 
in  borrowed  clothes,  of  some  fellow-actor  at  the  How 
ard  or  the  Museum.  As  the  purchasers  had  made  pre 
parations  to  build,  they  could  only  allow  performances 
until  Friday,  the  7th  of  May.  On  Monday,  May  10th, 
Messrs.  Clark  &  Son  sold  at  auction  the  properties  and 
fixtures  of  the  theatre.  Hundreds  were  attracted  to 
the  sale,  to  take  a  farewell  view  of  a  theatre  so  rich  in 
historical  associations,  many  of  which  we  have  endeav 
ored  to  chronicle  in  this  Record.  A  beautiful  block 
of  stores  now  occupy  the  site  of  the  former  BOSTON 
THEATRE. 


RECORD    OF    THE    BOSTON    STAGE.  397 


CHAPTER  XXVIII. 

The  National  Theatre.— Its  Origin.  — Mr.  Pelby.  — The  Warren 
Theatre.  —  The  National  Theatre.  —  J.  B.  Wright.  —  Thomas  A. 
Cooper.  —  Miss  Davenport.  —  Josh.  Silsbee.  —  Miss  Julia  Dean.  — 
McKean  Buchanan. — F.  S.  Hill.  —  J.  S.  Jones.  —  Hamilton. — 
Wright,  Fenno  &  Co.,  etc.  etc. 

IT  is  not  our  intention  to  give  a  detailed  account  of 
the  National  Theatre.  The  performances  at  times  have 
been  of  that  order  in  which  the  reader  would  feel  little 
interest,  and  its  history  presents  very  few  features  of 
striking  originality. 

In  1832,  an  amphitheatre  was  built  on  the  site  of  the 
present  National  Theatre,  by  Jeremiah  and  Theodore 
Washburn,  for  William  &  Thomas  L.  Stewart,  who 
were  the  owners,  and  it  was  opened  by  them  as  the 
"  American  Amphitheatre,"  on  the  27th  of  February, 
in  that  year,  for  equestrian  purposes.  Performances 
were  also  given  on  a  small  stage,  and  "  Victorine,  or 
the  Orphan  of  Paris,"  was  performed,  for  the  first  time 
in  this  city,  at  that  place.  The  Messrs.  Stewarts  were 
the  proprietors  of  an  equestrian  company,  and  they 
desired  a  place  in  the  city  at  which  they  might  perform 
during  three  or  four  months,  when  the  inclemency  of  the 
weather  prevented  them  from  making  their  customary 
country  circuit. 

In  the  spring  of  1832,  Mr.  Pelby  returned  from  the 
South,  cherishing  the  most  hostile  feelings  against  the 


398        RECORD  OF  THE  BOSTON  STAGE. 

Tremont  Theatre,  its  proprietors,  and  lessee,  by  whom, 
from  causes  already  recorded,  he  deemed  himself  in 
jured.  His  feelings  were  so  worked  up  by  some  re 
marks  made  by  Mr.  Dana,  that,  accompanied  by  a 
friend,  he  called  on  Mr.  Dana,  for  the  purpose  of 
demanding  an  apology,  or  inflicting  personal  chastise 
ment.  Mr.  Dana  was  fortunately  not  at  home,  and 
Mr.  Pelby's  friend  then  remonstrated  with  him  upon 
his  course  of  conduct,  arguing  that  little  good  would  be 
the  result.  "  I  '11  tell  you  what  to  do,"  said  he  ;  "  hire 
the  American  Amphitheatre,  and  run  the  Tremont." 
The  suggestion  struck  Mr.  Pelby  favorably,  and  he 
adopted  it. 

Mr.  Pelby  was  soon  engaged  in  contracting  for  the 
lease  of  the  Amphitheatre,  and  on  the  12th  day  of  May, 
1832,  the  articles  of  agreement  were  signed  between 
William  Pelby  and  Win.  &  Thos.  L.  Stewart,  for  the 
lease  of  it  for  five  years.  The  understanding  was,  that 
three  months  during  the  winter,  the  Stewarts  should 
perform  equestrian  spectacles,  and  give  performances 
in  the  ring ;  but  this  part  of  the  contract  was  never 
fulfilled  by  Mr.  Pelby,  who,  after  the  departure  of 
the  Stewarts,  converted  the  place  into  a  regular  the 
atre,  adapted  exclusively  for  dramatic  performances. 
The  Stewarts  were  subsequently  unfortunate  in  busi 
ness,  and  the  establishment  passed  into  Mr.  Pelby's 
hands ;  but  had  the  Amphitheatre  not  been  erected,  it 
is  more  than  probable  that  Mr.  P.  would  have  made  his 
"  fling  for  fame  "  in  some  other  locality. 

We  have  anticipated,  thus  briefly,  the  commencement 
of  Mr.  Pelby's  managerial  career  at  the  North  End. 


RECORD    OF    THE    BOSTON    STAGE.  399 

The  Amphitheatre  once  leased  to  him,  he  changed  the 
name  to  the  Warren  Theatre,  and  on  the  3d  of  July. 
1832,  opened  it  to  the  public,  with  "  Victorine,"  and 
"The  Spoiled  Child,"  to  an  audience  of  $60.75.  Mr. 
F.  S.  Hill  was  stage-manager  till  1838.  The  company 
embraced  Pelby,  Wallace,  F.  S.  Hill,  J.  S.  Jones,  J. 
Mills  Brown,  (who  reappeared  after  an  absence  of  four 
years,)  Meer,  Kent,  and  a  host  of  others ;  while  in  the 
female  department  were  Miss  Ophelia  Pelby,  (after 
wards  ,Mrs.  Anderson,  who  died  on  the  25th  of  January, 
1852,)  Mrs.  Meer,  Mrs.  Nelson,  Miss  Bouquet,  and 
others.  Under  the  name  of  the  Warren,  Mr.  Pelby 
conducted  this  house  till  1836.  During  the  four  seasons, 
Messrs.  T.  D.  Rice,  (Jim  Crow,)  G.  H.  Hill,  C.  H. 
Eaton,  John  Barnes,  J.  B.  Booth,  W.  R.  Blake,  J.  R. 
Scott,  W.  G.  Jones,  (died  June  20,  1853,)  Coney  and 
Blanchard,  Mons.  Gouffe,  appeared  as  stars.  In  1836, 
Mr.  Pelby  re-constructed  the  theatre,  enlarged  and 
otherwise  improved  it,  and  opened  it  on  the  15th  of 
August  as  the  National  Theatre,  to  an  audience  of 
$866.  The  theatre  had,  in  fact,  been  rebuilt ;  though, 
to  avoid  some  difficulty  with  the  city,  the  little  Warren 
was  only  taken  down  little  at  a  time,  but  very  little  of 
the  original  structure  was  left.  Mr.  W.  H.  Smith  con 
tinued  as  stage-manager,  and  Mr.  J.  B.  Wright  filled 
the  important  post  of  prompter.  Mr.  Wright  com 
menced  his  career  as  call-boy  at  the  Tremont,  and  by 
his  industry  and  attention  to  business  rendered  himself 
at  the  National  one  of  the  most  useful  members  of  that 
establishment.  In  his  department,  he  has  no  superior 
in  any  theatre,  and  he  has  since,  as  stage-manager, 


400  RECORD    OF    THE    BOSTON    STAGE. 

evinced  the  most  excellent  tact  and  taste,  by  the  very 
superior  manner  in  which  plays  have  been  produced  at 
this  theatre.  For  many  years,  the  National,  under 
Pelby,  maintained  a  firm  position,  and  gained  the  public 
suffrage  to  such  an  extent,  that  Mr.  Pelby  could  have 
retired  at  one  time  in  the  possession  of  a  large  fortune. 
His  companies  were  invariably  good,  and  those  popular 
favorites  throughout  the  United  States,  Messrs.  W.  F. 
Johnson,  T.  P.  Cunningham,  Wyseman  Marshall,  Saun- 
ders,  W.  M.  Leman,  Mr.  and  Mrs.  C.  R.  Thome,  O.  C. 
Durivage,  Spear,  Murdoch,  Hunt,  Gilbert,  Andrews, 
and  hosts  of  others,  were  constantly  on  the  boards,  and 
plays  were  frequently  produced  in  a  superior  manner 
even  to  their  production  at  the  Tremont.  It  would  be 
tedious  to  record  the  progress  made  at  this  house,  sea 
son  after  season,  and  we  will  therefore  allude  to  some 
of  the  star  engagements  of  note. 

On  the  10th  of  September,  1838,  Thomas  A.  Cooper, 
the  veteran  actor,  after  an  absence  of  nearly  six  years, 
appeared  at  the  National  as  Sir  William  Dorillon,  to 
his  daughter's  Miss  Dorillon,  in  Mrs.  Inchbald's  comedy 
of  "  Wives  as  They  Were."  He  had  for  many  years 
been  living  in  retirement  at  Bristol,  Penn.,  and  visited 
Boston  for  the  purpose  of  taking  a  final  leave  of  the 
Boston  boards,  and  introducing  his  daughter.  The 
engagement  was  not  remarkable,  and  Cooper  received 
but  slight  sympathy,  for  the  many  troubles  brought 
upon  himself  by  indulgence.  His  last  night  of  perform 
ance  was  on  the  21st  of  September.  The  receipts  of  this 
engagement  were  as  folio  AS:  — 


RECORD    OF    THE    BOSTON    STAGE.  401 

1838.    Sept.  10,  Wives  as  They  Were,  etc.        .        .  $131  00 

"  11,  Hunchback, 224  88 

"  12,  Much  Ado  About  Nothing,       .        .  G5  00 

"  13,  Damon  and  Pythias,            ...  125  37 

"  14,  Othello, 144  88 

"  17,  Rule  a  Wife  and  Have  a  Wife,    .        .  165  38 

"  18,  Much  Ado  About  Nothing,      .        .  115  38 

"  19.  Rule  a  Wife  and  Have  a  Wife,    .  91  87 

"  20,  Damon  and  Pythias,        ...  142  62 

"  21,  Gamester,           161  62 

$1,368  00 

Cooper  in  former  years  had,  in  a  single  night,  attracted 
to  the  old  house  $1,100. 

On  the  1st  of  October,  1838,  Miss  Jean  Margaret 
Davenport  made  her  first  appearance  before  a  Boston 
audience,  as  Richard  III.,  and  sustained  three  parts  in 
a  piece  called  "  The  Manager's  Daughter,"  written  by 
Edward  Lancaster,  in  which  both  Mr.  and  Mrs.  Daven 
port  appeared.  Miss  Davenport  was  at  that  time  stated 
to  be  "  only  eleven  years  of  age,"  and  was  regarded, 
and  justly  too,  as  an  infant  phenomenon.  She  had 
already  created  a  furore  in  England  and  in  New  York 
by  her  acting.  By  many  she  was  deemed  fully  equal 
to  Master  Betty,  in  the  best  days  of  that  prodigy,  and 
far  surpassed  Burke.  Her  conception  of  Richard,  Shy- 
lock,  and  other  characters  in  the  higher  walks  of  the 
drama,  was  certainly  astonishing,  while  her  delivery 
was  not  the  mere  repetition  of  a  parrot,  but  was  sensible, 
and  evinced  the  talent  of  an  artist.  Her  success  was 
fair ;  and  inducements  being  held  out  by  the  public, 
after  the  termination  of  her  engagement  at  the  National, 
her  father  leased  the  Lion  Theatre,  and  for  a  few  nights 
did  wonders.  We  need  not  say,  that  Miss  Davenport, 
then  the  prodigy,  is  now  the  talented  actress,  who  of 
26 


402  RECORD    OF    THE    BOSTON    STAGE. 

late  years  has  delighted  thousands  in  this  city  by  her 
'admirable  style  of  acting,  and  who,  as  the  Countess,  in 
'"  Love,"  Julia,  in  the  "  Hunchback,"  and  Adrienne 
Lecouvre,  has  left  a  lasting  impression  upon  the  minds 
of  all  patrons  of  the  drama.  Her  father  died  in  Cin 
cinnati  a  few  years  since.  He  was  a  gentleman  of 
education,  and  proved  invaluable  to  his  daughter's 
success,  by  his  tact  and  discrimination. 

The  receipts  of  Miss  Davenport's  first  engagement 
in  Boston,  in  1838,  were  as  follows:  — 


Oct 

.u 
44 

U 

u 
u 

•  1, 

2, 
3, 
4, 
5, 
8, 
9, 
10, 
11, 
12, 

Richard  III.    Manager's  Daughter, 
Merchant  of  Venice,        "           ... 
School  for  Scandal,          .... 
"                "        Four  MoAvbrays,    . 
Douglass.     Spoiled  Child, 
Dumb  Boy  of  Manchester.     Old  and  Young 
Dumb  Boy,  &c.     Actress  of  all  Work,  . 
"        "               Spoiled  Child, 

u          u                           u               u 

Matteo  Falcone,         "           "... 

$402 
172 
146 
170 
145 
,   287 
148 
111 
163 
204 

50 
87 

12 
12 
50 
62 

(i'2 
00 
00 
50 

1-2 
1-2 
1-2 

1-2 
1-2 

$1,591  37  1-2 

Miss  Davenport  was  then  about  thirteen  years  of  age, 
and  in  the  above  plays  performed  Richard,  ShylocTc, 
Sir  Peter  Teazle  to  Mrs.  Davenport's  Lady  Teazle, 
Young  Norval,  and  Little  Pickle,  in  which  she  made 
her  debut  on  the  stage,  and  thus  exhibited  in  a  short 
time  the  versatility  of  her  talent. 

Mrs.  Fitzwilliam,  J.  B.  Buckstone,  W.  C.  Macready, 
(in  1843,)  Hackett,  J.  S.  Silsbee,  who  has  since  ac 
quired  a  great  reputation  abroad  for  his  delineations  of 
Yankee  characters,  and  who  first  appeared  on  the  stage 
in  Cincinnati,  in  1840,  as  Deuteronomy  Dutiful,  in  a 
farce  called  the  "  Wool  Dealer,"  Mr.  Anderson,  an  ac- 


RECORD    OF    THE   BOSTON    STAGE.  403 

tor  of  the  greatest  merit,  and  the  best  Claude  Melnotte 
we  ever  saw,  Mrs.  Hunt,  afterwards  Mrs.  Mossop, 
whose  espieglerie  has  turned  the  heads  of  more  than 
one  young  man,  and  a  host  of  others  appeared,  under 
the  auspices  of  Manager  Pelby  —  many  of  whom  have 
already  been  alluded  to  in  this  record.  On  the  26th  of 
October,  1846,  Miss  Julia  Dean  made  her  first  appear 
ance  as  Juliet.  This  young  lady,  a  grand-daughter  of 
Samuel  Drake,  one  of  the  pioneers  of  the  drama  in 
the  West,  was  born  at  Louisville,  Kentucky,  and  her 
circuit  has  since  been  chiefly  confined  to  the  western 
theatres,  though  within  two  years  past,  she  has  appeared 
in  New  York  and  Philadelphia,  with  the  most  decided 
success.  At  the  time  she  visited  this  city,  her  name 
was  unknown  in  theatrical  annals,  and  she  was  obliged 
to  contend  against  the  overpowering  attractions  of  Mrs. 
Mowatt,  Madame  Augusta,  George  Vandenhoff  and 
Davenport,  at  the  Howard  Athenaeum,  and  Mr.  and 
Mrs.  Kean  at  the  Boston  Theatre.  Miss  Dean  is  un 
doubtedly  the  most  promising  young  American  actress 
on  the  stage,  and  a  brilliant  career  awaits  her.  In 
many  characters  she  is  already  unrivalled,  and  so  well 
appreciated  has  she  been  wherever  she  appears,  that  a 
handsome  fortune  has  been  accumulated  by  her. 

Miss  Kimberly  made  her  debut  at  the  National  in 
1850,  and  McKean  Buchanan  first  gave  Bostonians  a 
taste  of  his  talent  at  this  theatre.  Graham,  an  Eng 
lish  tragedian,  who  subsequently  died  in  St.  Louis,  also 
made  his  appearance  here,  and,  lastly,  Mrs.  Sinclair 
attracted  very  fair  houses,  by  her  performances  at  this 
theatre. 

Mr.  Pelby  was  very  successful  in  his  choice  of  stage- 


404  RECORD    OF    THE    BOSTON    STAGE. 

managers.  F.  S.  Hill  was  not  only  competent  to  the 
discharge  of  his  duties,  but  his  literary  qualifications 
were  very  respectable.  He  wrote  the  "  Six  Degrees  of 
Crime,"  and  other  pieces  which  drew  money  into  Mr. 
Pelby's  treasury.  Mr.  W.  H.  Smith,  by  his  thorough 
knowledge  of  stage  business,  gave  effect  to  every  piece 
that  was  produced.  Mr.  Smith,  in  making  his  arrange 
ments  with  Mr.  Pelby,  was  so  strict  in  his  articles  of 
agreement,  that  not  even  the  manager  was  allowed  to 
cross  the  stage,  unless  by  his  permission.  J.  S.  Jones 
was  another  invaluable  man  to  Mr.  Pelby,  both  on 
account  of  the  talent  he  possessed  as  a  playwright,  and 
the  sound  advice  he  was  able  to  impart  in  regard  to 
business  matters.  His  plays,  too  numerous  to  mention, 
were  very  popular.  The  "  Surgeon,"  from  his  pen, 
drew  crowded  houses.  Mr.  Cartlitch  was  also  valuable 
in  this  capacity,  and  was  succeeded  by  J.  E.  Murdoch, 
who  was  followed  by  Messrs.  "W.  R.  Blake,  Robert 
Hamilton,  (a  gentleman  of  fine  literary  attainments,) 
and  by  Thomas  Barry,  Esq. 

During  an  engagement  at  the  National,  Mr.  James 
E.  Murdoch  brought  out  "  Witchcraft,"  a  tragedy  in 
five  acts,  by  Cornelius  Mathews,  which  has  been  pub 
lished  in  London,  and  translated  into  French  ;  an  honor 
never  before  extended  to  any  American  work  of  the 
kind.  It  has  received  from  the  highest  critical  author 
ity,  in  both  countries,  the  warmest  commendation.  It 
was  acted  in  Philadelphia,  on  its  first  presentation  to 
the  public,  for  four  successive  nights.  Mr.  Murdoch 
afterwards  carried  his  manuscript  play  to  Cincinnati, 
where  it  was  received  with  unbounded  applause.  The 
press  of  that  city  spoke  of  it  in  unequivocal  terms,  and 


RECORD    OF    THE    BOSTON    STAGE.  405 

in  this  city  it  was  received  with  flattering  marks  of 
approbation  by  the  press  and  the  public. 

Mr.  Barry,  after  an  absence  of  many  years,  took  the 
management  in  1848,  and  from  that  time  till  the  present, 
the  National  has  increased  in  the  favor  of  the  more 
respectable  portion  of  the  community.  Mr.  Barry's 
reputation  at  once  attracted  to  the  theatre  hundreds 
who  for  years  had  absented  themselves  from  its 
door.  Mr.  Barry  continued  with  Mr.  Pelby  during 
the  season  of  1849  ;  and  Mr.  Pelby  having  died,  he 
assumed  the  acting  and  stage  management  for  Mrs. 
Pelby  till  the  expiration  of  the  season  of  1850-1,  when 
he  returned  to  New  York,  where  he  still  lives,  the 
accomplished  and  much  respected  manager  of  the 
Broadway.  The  season  of  1851-2,  Mr.  John  B. 
Wright  was  acting  and  stage  manager,  and  also  joint 
lessee,  under  the  title  of  Wright,  Fenno  &  Bird.  The 
house  was  in  every  respect  worthy  of  patronage,  while 
in  charge  of  the  firm  ;  and  the  public  appreciated  the 
efforts  made  to  cater  for  an  enlightened  community. 
Mr.  Fenno,  as  treasurer  and  box-keeper,  made  many 
friends  by  his  proverbial  politeness  and  constant  atten 
tion  to  business,  and  every  thing  promised  well ;  but 
on  the  night  of  April  22,  1852,  a  fire  broke  out  in  the 
theatre,  whether  the  result  of  accident,  or  the  work  of 
an  incendiary,  was  never  discovered,  and  in  a  few  hours 
the  entire  building  with  all  its  contents  was  in  flames. 
Mrs.  C.  N.  Sinclair  and  Mr.  Vandenhoff  performed  on 
the  evening  of  the  21st  in  the  "  School  for  Scandal," 
and  the  "  Rough  Diamond  "  was  the  after-piece.  The 
play  announced  for  the  22d  was  "  Love's  Sacrifice," 


406  RECORD    OF    THE    BOSTON    STAGE. 

which  was  performed,  as  we  have  stated,  at  the  Boston 
Theatre. 

Thus  briefly  we  have  sketched  the  history  of  the 
National,  the  favorite  resort  of  residents  of  the  North 
End,  who  take  considerable  pride  in  "  their  theatre," 
as  they  term  it.  It  proved,  under  Mr.  Pelby's  manage 
ment,  a  formidable  competitor  to  the  Tremont,  and  its 
influence  has  otherwise  been  felt.  The  standard  of  the 
theatre  has  been  that  of  the  second  class,  but  it  has 
occasionally  aspired  above  "  blue  fire  and  mysterious 
music,"  and  at  times  has  been  the  theatre  of  Boston. 
Mr.  Pelby  both  made  and  lost  large  sums  in  it  during 
his  career. 


CHAPTEE  XXIX. 

Proposals  for  a  New  Theatre.  —  The  New  National  Theatre.  —  Lay 
ing  of  the  Corner  Stone.  — Mr.  G.  V.  Brooke.  — The  Theatre 
lighted  up.  —  The  Opening  Night.  —  Douglass  Stewart.  —  Md'lle 
Falser.  —  New  Fares.  —  Receipts.  —  Edwin  Forrest's  Engagement. 
—  The  Spanish  Dancers.  —  The  Company  Reduced.  —  Leonard's 
Complimentary  Benefit.  —  Presentation  of  Plate  to  Brooke,  etc.  etc. 

IMMEDIATELY  after  the  destruction  of  the  National 
Theatre  by  fire,  (22d  April,  1852,)  Mr.  Joseph  Leon 
ard,  the  well-known  auctioneer,  published  in  the  papers 
a  notice,  requesting  gentlemen  who  were  in  favor  of  the 
erection  of  a  new  theatre,  to  walk  into  the  hotels  and 


! 


RECORD    OF    THE    BOSTON    STAGE.  407 

subscribe  for  the  stock,  papers  having  been  circulated 
for  that  purpose.     The  want  of  a  capacious  theatre  had 
long  been  talked  of;  and  as  it  was  given  out  that  the 
National  would  not  be  rebuilt,  the  time  was  deemed 
appropriate  for  agitating  the  subject.    In  this  enterprise 
Mr.  Leonard  was  joined  by   several  of  our  leading 
citizens,  and  on  the  28th  of  April,  1852,  a  meeting  was 
called  at  the  Revere  House.     From  this  meeting  orig 
inated  the  new  theatre  and  opera  house,  now  building 
on  Mason  Street.     An  unavoidable  delay  having  taken 
place  in  the  choice  of  a  site  of  land,  Mr.  Leonard 
directed  his  attention  to  the   new  National  Theatre, 
which  was  then  talked  of  as  among  the  things  that  were 
to  be.     On  the   10th  of  May,  1852,  he  received  the 
lease,  contracts  were  made  for  building  a  theatre  worth 
$45,000,  exclusive   of  the  land,  which  was  taken  on  a 
lease,  with  the  privilege  of  purchasing  at  an  agreed 
price  within  a  certain  number  of  years.     Messrs.  Page 
&  Jepson,  master  carpenters,  with  some  few  others, 
were  principally  interested  in  this  project.     The  work 
was  at  once  commenced,  and  on  the  6th  of  July  the 
corner  stone  was   laid   with   appropriate    ceremonies, 
"William    Dehon,    Esq.,    delivering   a   most    excellent 
address.      A   metallic  box   was    deposited   under   the 
stone,  containing  rare  coins,  a  specimen  of  California 
gold,  theatre  bills,  a  piece  of  the  foundation   of  the 
Federal  Street  Theatre,  copies  of  the  newspapers  of  the 
day,  and  a  parchment  containing  this  record  :  — 


408  RECORD    OF    THE    BOSTON    STAGE. 

'NATIONAL   THEATRE: 

Erected,  August,  1836. 
Destroyed  by  fire,  April  22,  1852. 

Corner  Stone  laid  July  6th :  Address  by  Wm.  Dehon,  Esq. 
Architects:  Joseph  F.  Billings,  Fred.  C.  Sleeper. 

(  John  A.  Page, 
Buyers:     T.F.Whidden, 
(  Samuel  Jepson, 
Lessee :  Joseph  Leonard. 
Acting  and  Stage  Manager:  John  B.  Wright. 
Assistant  Stage  Manager  and  Prompter:  Henry  Lewis. 

Treasurer:  William  Ellison. 
Box  Keeper:  Henry  W.  Fenno. 

It  was  the  understanding  that  the  theatre  was  to  be 
ready  for  occupancy  on  the  1st  of  September,  and  with 
this  impression  Mr.  Leonard  at  once  went  to  work  to 
secure  a  company.     The  qualifications  of  Mr.  Leonard 
for  managerial  duties  were  but  few.     His  associations 
with   members    of  the    theatrical   profession,  and   his 
natural  taste  for  dramatic  entertainments,  had  imbued 
him  with  the  belief  that  he  should  make  a  successful 
manager,  and,  with   confidence  in  his  own  judgment, 
and  a  liberality  entirely   characteristic,  he  organized  a 
corps  for  his  new  theatre,  dating  his  engagements  from 
the  6th  of  September.    As  that  time  approached,  it  was 
evident  that  the  theatre  would  not  be  ready  for  occu 
pancy,  and  Mr.  Leonard,  in  self-defence,  was  obliged 
to  assist  in  finishing   it.      Many  of  the    actors  were 
receiving  their  salaries ;    and  an  engagement  having 
been  made  with  G.  V.  Brooke  for  October,  he  came, 
and  announced  his  readiness  to  fulfil  his  part  of  the 
engagement,  but  as  the  theatre  was  not  finished,  Mr. 
Leonard   was  obliged   to   compromise,  and   paid   Mr. 
Brooke  six  hundred  dollars  forfeiture,  and  gave  a  new 


RECORD    OF    THE    BOSTON    STAGE.  409 

engagement  for  four  weeks.  This,  with  other  sums 
paid  out  prior  to  the  opening,  reached  the  large  sum  of 
$4,100,  —  enough  to  cripple  a  man  of  greater  means 
than  Mr.  Leonard,  and  a  man  with  less  heart  would 
have  yielded  to  this  combination  of  disastrous  circum 
stances.  Mr.  James  W.  Wallack  was  also  engaged  to 
appear,  and  when  the  time  came  the  theatre  was  not 
opened.  With  that  courtesy  which  has  ever  distin 
guished  him,  he  wrote  to  the  management,  regretting 
that  circumstances  were  as  they  were,  and  concluded 
by  saying,  "  when  you  want  me,  let  me  know." 

Although  not  finished,  the  theatre  was  announced  to 
open  on  the  1st  of  November.  The  interior  may  be 
briefly  described  as  containing  a  parquette,  first  tier  of 
boxes  on  a  level  with  the  rear  of  the  parquette,  a  second 
tier  of  boxes  called  the  dress  circle,  and  a  gallery,  with 
six  private  boxes.  The  first  tier  will  hold  440  persons, 
the  parquette  390,  the  second  tier  GOO,  and  the  gallery 
about  1000,  making  sitting  room  for  2,430.  This  is 
exclusive  of  room  in  the  lobby.  The  stage  is  76  feet 
wide  and  66  feet  deep,  and  29  feet  between  the  wings 
or  side  scenes.  The  curtain  is  40  feet  wide  and  38  feet 
high,  and  the  whole  theatre  is  151  feet  deep  by  80  feet 
in  width.  A  building,  containing  a  large  scene-room, 
and  nearly  all  the  dressing-rooms  and  green-rooms,  is 
connected,  being  50  feet  in  length  and  17  feet  in  width. 
The  conveniences  behind  the  curtain  are  excellent  and 
commodious. 

On  Saturday  evening,  October  30,  the  theatre  was 
lighted  up,  and  a  few  of  the  personal  friends  of  the 
manager  were  present,  who  partook  of  a  collation,  and 
witnessed  Md'lle  Palser's  "first  fling  for  fame."  It 


410  EECORD    OF    THE    BOSTON    STAGE. 

seemed  an  impossibility  to  open  the  theatre  on  the 
Monday  following,  but  by  dint  of  constant  labor,  the 
interior  was  so  far  perfected  that  it  was  opened  on 
Monday,  the  1st  of  November,  1852,  though  some  six 
weeks  elapsed  before  the  theatre  was  finished,  or  rather 
patched  up,  —  as,  in  our  opinion,  it  is  not  finished  yet. 
The  opening  bill  was  the  "  Heir  at  Law,"  an  Original 
Address,  by  TV.  O.  Eaton,  spoken  by  TV.  M.  Leman  ; 
Polish  Dance  by  Md'lle  Falser  and  John  Dobbs.  A 
new  act  drop,  called  "  Byron's  Dream,"  was  painted  by 
Hayes,  and  the  company  embraced  TV.  M.  Fleming  and 
wife,  TV.  H.  Curtis,  Douglass  Stewart,  Mr.  and  Mrs.  J. 
J.  Prior,  J.  Munroe,  Mr.  and  Mrs.  Buxton,  S.  D.  John 
son,  Aiken,  Mrs.  TV.  H.  Smith,  Mrs.  Archbold,  TV.  F. 
Johnson,  Fanny  Howard,  Cornelia  Jefferson,  Bertha 
Lewis,  Julia  Pelby,  Mrs.  Vickery,  (who  made  her 
first  appearance  as  Bianca  on  the  5th  of  November,) 
R.  Stilt,  ballet  master,  and  others.  Of  these  a  por 
tion  had  been  engaged  by  Mr.  Leonard,  and  a  few 
by  Mr.  Wright,  stage-manager.  Mr.  Leonard  was 
extremely  liberal  in  his  engagements,  and  paid  a  few 
most  extravagant  salaries.  Md'lle  Palser  and  Doug 
lass  Stewart  were  of  foreign  importation.  It  was 
anticipated  that  Douglass  Stewart,  who  came  highly 
recommended  to  Mr.  Leonard,  would  prove  a  card. 
Some  even  predicted  that  William  Warren,  of  the 
Museum,  was  to  have  a  rival.  His  debut  was  as  Dr. 
Pangloss,  and  poor  enough  it  proved,  but  his  apologists 
attributed  the  failure  to  the  "  natural  embarrassment  of 
the  occasion."  Unfortunately,  Mr.  Stewart  never  got 
over  this  embarrassment ;  and  Mr.  Leonard,  finding 
that  the  article  was  not  up  to  "  invoice  value,"  a  mutual 


RECORD    OF    THE   BOSTON    STAGE.  411 

agreement  to  separate,  after  a  few  weeks,  took  place. 
Md'lle  Falser,  from  the  English  theatres,  was  well  re 
ceived,  and  proved  quite  popular,  but  was  not  of  that 
value  to  the  theatre  which  bore  any  proportion  to  her 
large  salary.  In  person  she  was  quite  prepossessing, 
having  youth,  beauty,  and  a  healthy  development  of 
form,  while  her  style  was  modest,  graceful,  and  fascinat 
ing.  Not  called  upon  to  make  any  great  exertion,  she 
evinced  very  little  originality,  and  when  she  left  for 
home,  was  far  from  being  improved  in  her  profession. 
Mrs.  Archbold,  once  a  great  favorite  in  London,  and 
subsequently  popular  at  Dublin,  was  far  indeed  above 
mediocrity,  and  as  the  tart  old  women,  or  ladies  of  a 
doubtful  age,  she  is  truly  excellent.  Mrs.  Vickery 
assumed  a  position  as  a  tragic  actress,  which  she  has 
since  fully  sustained.  She  has  her  peculiarities  of  pro 
nunciation  ;  but  where  we  can  find  one  better  actress, 
we  can  single  out  twenty  far  inferior.  Mr.  Fleming 
made  his  first  appearance  on  the  third  night  of  the 
season  as  Richelieu,  and  during  the  star  engagements 
has  rendered  very  efficient  service  by  his  able  support. 
Mrs.  George  Barrett  commenced  an  engagement  as 
Lady  Teazle,  and  continued  through  J.  W.  Wallack's 
engagement,  which  commenced  on  the  22d  of  November. 
Mr.  "Wallack  attracted  to  the  theatre  the  most  fashion 
able  houses,  and  astonished  his  oldest  friends,  those  who 
recollected  him  thirty  years  ago,  by  his  acting,  which, 
in  its  artistic  finish,  seemed  but  little  impaired  by  time. 
His  benefit  was  attended  by  the  fashion  of  the  city,  and 
being  called  out,  he  acquitted  himself  in  a  handsome 
manner,  by  speaking  a  good  word  for  the  management, 
a  flattering  notice  of  Brooke,  and  extended  an  invita- 


412  RECORD    OF    THE   BOSTON    STAGE. 

tion  to  all  to  visit  him  at  "Wallack's  Theatre,  in  New 
York. 

Mr.  G.  V.  Brooke,  supported  by  Mrs.  Barrett,  com 
menced  on  the  6th  of  December.  The  receipts  during 
his  engagement  were  as  follows  :  — 


1852.     Dec,  6, 

Othello,        

$687  25 

"      ?, 

The  Wife,        

317  25 

"      8, 

Othello,       

405  00 

"      9> 

Merchant  of  Venice, 

335  50 

"    10, 

New  Way  to  Pay  Old  Debts,      . 

350  25 

«    13, 

Corsican  Brothers, 

594  00 

"    14, 

u 

492  50 

"    15, 

li 

. 

370  00 

"    16, 

u 

. 

443  75 

"    17, 

(( 

.... 

357  75 

"    20, 

a 

. 

465  25 

"    21, 

u 

. 

289  00 

"    22, 

ti 

305  25 

**mj 

«    23, 

u 

.        .        . 

246  25 

"    24, 

Richelieu,  Mrs.  Barrett's  Benefit, 

317  00 

»    25, 

Medley,  —  Afternoon,  Christmas, 

157  75 

u     u 

Corsican  Brothers,  evening, 

400  00 

$6,526  75 

Christmas  fell  on  Saturday,  and  an  afternoon  per 
formance  was  given,  and  also  an  evening  performance, 
which  was,  strictly  speaking,  contrary  to  law,  though 
not  without  a  precedent,  though  a  single  one,  perform 
ances  having  been  given  at  the  Tremont  Theatre  on  a 
Saturday  evening  in  1840,  to  accommodate  a  large 
number  of  strangers  then  in  town  to  attend  the  Bunker 
Hill  Convention.  Mr.  Leonard  made  an  effort  about 
this  time  to  have  the  law  against  dramatic  performances 
on  Saturday  evening  repealed,  but  after  some  discussion 
in  the  legislature,  he  and  other  petitioners  had  leave  to 
withdraw.  Mr.  Brooke  continued  another  week,  and 


RECORD    OF    THE    BOSTON    STAGE.  413 

received  the  support  of  the  Misses  Denins.   The  receipts 
were  :  — 

1852.     Dec.  27,  Hunchback §335  50 

"  28,  The  Wife, 237  50 

"  29,  Richard  III., 449  00 

"  30,  Stranger] 342  00 

"  31,  Othello, 620  25 

$1,984  25 

On  the  occasion  of  the  last  representation  of  Othello, 
which  drew  a  good  house,  Mr.  Fleming  played  Othello, 
Mr.  Brooke  lago,  Mrs.  Barrett  Desdemona,  and  Mrs. 
Vickery  Emelia.  Brooke  was  better  as  "  Mine  Ancient " 
than  in  the  impersonation  of  the  Moor,  and  the  other 
characters  being  so  efficiently  sustained  that  the  per 
formance  was  truly  a  splendid  piece  of  acting  through 
out. 

At  the  termination  of  Brooke's  engagement,  the 
theatre  had  been  opened  two  months,  at  an  expense  of 
$9,200  per  month,  or  $2,300  per  week,  which  includes 
current  expenses,  new  properties,  scenery,  etc.  The 
gross  receipts  during  the  two  months  averaged  $9,100 
per  month,  which,  though  apparently  a  loss  of  $100  per 
month,  cannot  be  so  considered,  as  a  portion  of  the 
receipts  went  to  stock  the  theatre.  Had  the  theatre 
been  properly  stocked  at  the  commencement,  the  receipts 
would  have  far  exceeded  the  running  expenses  of  the 
theatre. 

The  next  star  engagement  was  with  Edwin  Forrest, 
the  American  tragedian,  who  received  a  clear  half  of 
the  receipts.  A  man's  talents  are  certainly  worth  all 
they  will  bring  ;  and  we  cannot  blame  Mr.  Forrest  for 
placing  a  high  estimate  on  his  own  abilities,  especially 


414  RECORD    OF    THE    BOSTON    STAGE. 

when  we  know  that  he  is  the  most  attractive  star  on 
the  American  stage,  and  can,  by  his  own  individual 
powers,  attract  more  people  to  a  theatre  than  any  living 
actor.  Mr.  Forrest  but  recently  closed  at  the  Broad 
way  Theatre,  New  York,  owing  to  spraining  his  ancle, 
after  seventy-two  consecutive  performances.  There  are, 
however,  but  few  managers  who  can  afford  to  pay  these 
terms,  for  many  of  Mr.  Forrest's  pieces  require  a  strong 
stock  company.  The  receipts  were  very  large  :  — 

1853.   Jan.  10,  Damon  and  Pythias,        .  $750  50 

"  11,  Richelieu,     .        .        .        .  574  50 

"  12,  Othello,     ....  618  00 

"  13,  Virginius,      .         .        .         .  344  25 

"  14,  Hamlet,              ...  501  00    2,788  25 

"  17,  Metamora,     .        .        .        .  877  00 

"  18,            "  686  25 

"  19,             "             ....  651  75 

"'  20,            "  620  75 

"  21,            "            ....  617  00    3,452  75 

"  24,  Gladiator,         ...  670  00 

"  25,            "            •  698  00 

"  26,            "  485  50 

"  27,            "            ....  480  25 

"  28,  Othello,            ...  445  75    2,780  75 

"  31,  Macbeth,    .        .        .        .  580  75 

Feb.   1,  Jack  Cade,      ...  568  00 

"  2,       "         "       .         .        .        .  542  50 

"  3,       "                     ...  387  75 

"  4,  Metamora,           .        .        .  477  00    2,556  00 

"  7,  Hamlet,  Benefit,     .        .                           587  75 

$12,165  50 

On  the  second  night  of  this  engagement,  a  curtain 
on  the  stage,  in  sight  of  the  audience,  took  fire,  and  a 
regular  stampede  occurred.  Mr.  Forrest  remained 
perfectly  quiet,  and,  the  fire  being  extinguished,  the 


RECORD    OF    THE    BOSTON    STAGE.  415 

play  continued.  The  great  week  of  the  engagement 
was  that  of  Metamora,  which,  it  will  be  observed,  drew 
very  nearly  an  average  of  seven  hundred  dollars  nightly. 
The  gross  receipts  were  $12,165.50,  which  being  divid 
ed,  left  for  the  manager,  as  his  portion  of  twenty-one 
nights,  $6,082.75.  The  expenses  of  the  company,  too 
large  and  too  expensive,  were  certainly  $300  per  night, 
by  which  it  will  be  seen  that  Mr.  Forrest's  engagement 
put  no  money  in  the  treasury.  It  would  have  done 
so,  however,  if  the  theatre  had  been  managed  with 
more  tact,  and  an  efficient  working  company  had  been 
engaged. 

In  the  month  of  February,  the  Spanish  dancers  came, 
This  troupe  was  selected  by  James  II.  Hackett  in  Paris, 
and  brought  out  to  this  country  on  speculation.  Soto 
wras  the  leading  danseuse,  and  was  by  birth  a  Spanish 
woman,  and  in  several  of  her  dances  evinced  the  natural 
vigor  characteristic  of  Spain.  Pougead  ranked  first  in 
popular  favor  on  the  score  of  personal  beauty,  but 
Melisse  was  far  the  best  danseuse  of  the  troupe,  pos 
sessing  a  muscular  strength  which  enabled  her  to 
execute  the  tours  deforce  with  astonishing  power;  but 
unfortunately  she  lacked  beauty  of  facial  feature. 
Lavigne  was  quite  a  pleasing  dancer,  and  Drouet  and 
Leeder  answered  very  well  to  give  numerical  impor 
tance  to  the  troupe.  Mons.  Mege,  the  male  dancer, 
was  very  good,  and  more  noted  as  a  posturer  than  a 
dancer.  There  was  real  artistic  tjflent  in  this  troupe, 
but  not  enough  to  give  them  powers  of  attraction  in 
cities  where  better  dances  had  often  been  seen ;  and 
aware  probably  of  this  fact,  and  unwilling  to  "  carry 
weight,"  their  drapery  was  exceedingly  scant  and  light, 


416 


RECOED    OF    THE    BOSTON    STAGE. 


not  sufficient  to  merit  the  charge  of  immodesty,  but 
enough  to  pique  the  curiosity  of  the  susceptible.  It  was 
during  this  month,  about  the  18th,  that  the  guillotine 
was  put  in  operation,  and  some  fifteen  of  the  company 
were  discharged.  They  who  were  thus  turned  out 
without  warning,  very  naturally  uttered  protestations 
against  the  management ;  and  though  a  lack  of  means 
to  pay  so  heavy  a  company  seemed  to  compel  recourse 
to  some  such  step,  a  more  conciliatory  method  of  reduc 
ing  the  expenses  might  have  been  resorted  to.  On  the 
14th  of  March,  James  E.  Murdoch  and  Miss  Heron 
commenced  an  engagement;  and  on  the  21st,  Miles' 
play  of  "  De  Soto "  was  brought  out,  in  which  Mr. 
Murdoch  and  Miss  Heron  received  the  support  of 
Messrs.  Fleming,  Leman,  Curtis,  Prior,  and  Mrs. 
Prior.  The  last  scene  represented  a  tableau  of  Powell's 
Burial  of  De  Soto,  which  had  a  fine  effect. 

Early  in  March,  a  few  personal  friends  of  Mr.  Leon 
ard  determined  upon  tendering  him  a  grand  compli 
mentary  benefit,  and  at  once  held  meetings  to  make 
preparations.  A  large  number  of  gentlemen  loaned  the 
use  of  names,  and  others,  who  sympathized  with  Mr. 
Leonard  in  his  losses,  came  forward,  and  on  the  16th 
the  house  was  crowded  by  his  friends.  The  perform 
ances  consisted  of  "  Wine  Works  Wonders,"  in  which 
Murdoch  played  Young  Mirable ;  the  trial  scene  froi 
the  "  Merchant  of  Venice,"  ShylocJc,  Fleming,  Portia, 
Mrs.  Melinda  Jones  ;  the  "  Virginia  Mummy,"  with  T. 
D.  Rice  ;  and  the  screen  scene  from  the  "  School  for 
Scandal,  —  Charles  Surface,  Murdoch  ;  Joseph  Surface, 
Fleming;  Sir  Peter  Teazle,  W.  F.  Johnson;  Lady 
Teazle,  Mrs.  George  Barrett.  The  performances  were 


RECORD    OF    THE    BOSTON    STAGE.  417; 

excellent,  especially  the  last  scene  from  Sheridan's 
inimitable  comedy.  We  doubt  if  the  Boston  public 
ever  witnessed  it  in  greater  perfection.  As  a  testimonial 
of  personal  friendship,  this  benefit  was  very  proper  ;  as 
a  complimentary  benefit,  it  was  simply  ridiculous,  for  a 
complimentary  benefit  is  generally  tendered  as  a  mark 
of  respect  to  one  who  has  achieved  a  triumph,  and 
certainly  Mr.  Leonard  had  no  laurels  to  boast  of  at  that 
time.  The  actual  amount  of  tickets  sold,  the  prices 
having  been  raised,  was  about  $900  worth. 

Another  complimentary  benefit  followed  this,  which 
was  tendered  to  Mrs.  Pelby.  Mrs.  Pelby  played  Elvira, 
and  Mrs.  Thorne,  who  came  on  expressly  from  New 
York,  Cora,  in  "  Pizzaro,"  to  a  very  excellent  house. 
The  "  Princess  and  the  Peacock,"  an  operatic  serio- 
tragic  extravaganza,  local  in  its  hits,  which  was  origin 
ally  performed  at  Mrs.  W.  H.  Smith's  benefit,  was  also 
given,  and  received  with  shouts  of  applause.  It  was 
the  production  of  a  couple  of  young  gentlemen  of  this 
city,  and  proved  very  acceptable  to  the  public.  Palser 
also  made  her  last  appearance  in  America  on  this  occa 
sion.  Messrs.  Coney  and  Taylor  and  their  dogs  were 
the  next  attractions.  They  had  exhausted  their  at 
tractive  powers  at  the  Howard  Athenaeum  previous  to 
this.  On  the  llth  of  April,  Mr.  Lysander  Thompson 
appeared,  but  the  season  had  so  far  advanced  that  his 
claims  were  not  acknowledged.  Mr.  Thompson  made 
his  first  appearance  in  America  at  Burton's  in  New 
York.  In  his  particular  walk  of  the  drama,  that  of 
impersonating  the  Yorkshireman  and  countryman,  he  is 
confessedly  without  an  equal.  The  London  Times  once 
remarked  of  him  :  — 

27 


418  RECORD    OF    THE   BOSTON    STAGE. 

"  Nothing  can  surpass  the  excellence  both  of  his 
Tyke  and  his  Zekiel  Homespun.  They  belong  to  that 
class  of  exquisite  personation  which  criticism  can 
scarcely  do  more  than  record.  He  comes  on  to  the 
stage  with  a  naivete  so  inimitable,  and  in  effect  so  irre 
sistibly  ludicrous,  as  to  immediately  take  possession  of, 
and  establish  himself  with  the  audience. 

'  With  steady  face,  and  sober,  humorous  mien, 
He  trod  the  outline  of  the  comic  scene, 
The  VERY  MAN,  in  LOOK,  in  VOICE,  and  AIR, 
And  though  upon  the  stage,  appeared  no  PLAYER.' 

The  manner  in  which  Mr.  Thompson  makes  up  the 
personages  he  represents  is  almost  sufficient  to  stamp 
him  a  man  of  genius.  Throughout  the  whole  of  his 
performance  there  is  not  the  least  appearance  of  art  — 
no  straining  after  effect,  no  mannerism  or  stage  trickery 
—  but  all  is  natural,  and  kept  within  the  bounds  of 
moderation.  His  dialect,  action,  and  good-humored 
grin,  are  all  in  strict  keeping  with  the  character  of  the 
unsophisticated,  artless  countryman.  In  scenes  of 
pathos  and  tenderness,  he  is  equally  as  successful  as  in 
the  comic  and  more  bustling  portion  of  his  performance ; 
and  he  never  offends  by  approaching  to  any  thing  like 
buffoonery  or  extravagance." 

The  business  was  very  bad,  and  an  afternoon  per 
formance  was  given  on  the  16th,  when  the  theatre  was 
closed  for  the  season.  A  few  benefits  were  taken  by 
the  stock  after  this,  and  Mrs.  Warner  received  "  a  com 
plimentary."  The  entire  company  was  discharged, 
including  Mr.  "Wright,  the  stage-manager,  and  Mr. 
Fenno,  the  treasurer.  On  the  2d  of  May,  the  theatre 
was  re-opened,  with  Mr.  J.  W.  Wallack,  Jr.,  Mr. 


RECORD    OF   THE    BOSTON    STAGE.  419 

Fredericks,  Mr.  Dickinson,  Miss  Wyette,  were  engaged 
at  the  south,  as  members  of  the  stock.  Mr.  "Wallack 
brought  out  "  Civilization,"  but  it  did  not  draw. 

On  the  IGth  of  May,  G.  V.  Brooke  again  visited 
Boston,  and  performed  an  engagement  at  the  National, 
taking  a  farewell  of  a  Boston  audience  on  the  27th, 
when,  we  see  by  the  papers,  that  a  service  of  plate  was 
presented  to  Mr.  Brooke  by  Mr.  Fleming,  in  behalf  of 
"  a  few  of  his  many  friends  in  Boston  and  Providence." 
Mr.  Brooke  is  really  too  good  an  actor  to  resort  to  any 
means  not  strictly  legitimate  to  advance  his  position. 

The  result  of  the  season  has  not  been  so  successful 
as  one  could  wish  ;  but  the  error  lies  with  Mr.  Leonard, 
who  undertook  what  few  men  are  capable  of  perform 
ing,  though  no  manager  with  years  of  experience  could 
have  stood  up  better  under  the  accumulated  load  of 
troubles  than  he.  His  mistake  was  made  at  the  outset; 
in  omitting  to  have  a  time  specified  for  the  theatre  to 
be  finished,  and  his  capital  was  partially  used  up  in 
fitting  up  the  theatre.  The  company  was  a  most  ex 
travagant  one,  and  worked  badly  together  ;  but  as  the 
darkest  hour  is  just  before  daybreak,  so  we  are  inclined 
to  believe  that  another  season  will  redeem  the  past. 
Messrs.  Leonard  &  Fleming  have  formed  a  partnership, 
and,  properly  conducted,  the  theatre  will  prove,  as  it 
has  heretofore  been  considered,  the  best  investment  of 
capital  for  dramatic  purposes  in  the  United  States. 


420 


RECORD    OF    THE    BOSTON    STAGE. 


CHAPTER   XXX. 

The  Lion  Theatre.  —  The  Opening.  —  Mr.  Barrymore.  —  The  Jewess 
—  The  Golden  Farmer.  —  Cooke's  Company. — The  Davenports 
at  the  Lion.  —  Mechanics'  Institute.  —  The  Melodeon,  etc.  etc. 

IN  the  latter  part  of  the  year  1835,  Mr.  James  Ray 
mond  and  associates,  of  New  York,  purchased  the 
estate  in  Washington  street  known  as  the  Lion  Tavern, 
and  at  once  commenced  the  erection  of  an  amphitheatre, 
for  equestrian  and  dramatic  purposes.  A  large  number 
of  workmen  were  engaged,  and  so  rapid  was  the  pro 
gress  made,  that,  as  one  of  the  papers  of  that  day  re 
marked,  "  within  a  little  month,  or  in  about  the  same 
space  of  time  that  Hamlet's  mother  was  married  to  his 
uncle,  the  edifice  was  completed  and  the  bills  were  out 
for  the  opening  of  the  Lion  Theatre."  The  manage 
ment,  in  December,  1835,  offered  a  prize  of  $50,  for 
the  best  opening  address,  and  no  fewer  than  forty-three 
poems  were  submitted.  A  competent  committee,  con 
sisting  of  Grenville  Mellen,  Esq.,  Dr.  J.  V.  C.  Smith, 
and  Isaac  McLellen,  Jr.,  Esq.,  were  the  umpires.  The 
interior  of  the  house  was  neatly  arranged.  A  circle, 
for  equestrian  performances,  occupied  the  usual  place 
of  the  pit,  directly  in  front  of  the  stage,  the  pit  extend 
ing  under  the  boxes,  of  which  there  were  three  tiers. 
The  decorations,  by  Reinagle,  were  very  neat.  The 
opening  night  was  Jan.  11,  1836,  when  Buckstone's 
"  Open  House,"  and  "  Law  and  the  Lions,"  were  the 
dramatic  entertainments,  with  scenes  in  the  circle,  in 


RECORD    OF    THE    BOSTON    STAGE.  421 

which  Buckley,  T.  Nathans,  Robinson,  Perez,  Roine, 
Bryant,  Wilmott,  Dickinson,  and  J.  Nathans,  were  the 
most  prominent.  Mr.  E.  C.  Weeks  was  at  the  head  of 
the  establishment.  Mr.  Buckley  was  director  of  the 
equestrian  department,  and  Mr.  Barrymore  of  the  corps 
dramatique,  which  comprised  Messrs.  Houpt,  Herbert, 
Mestayer,  Knapp,  Durivage,  and  Mesdames  Kent, 
Barrett,  Mestayer,  Eberle,  Misses  Monier,  Hurley, 
Whittemore. 

The  drop  curtain,  representing  the  passage  of  the 
Alps  by  Bonaparte,  was  painted  by  Mr.  R.  Jones. 
The  address,  written  by  T.  M.  Devon,  as  the  author 
signed  himself,  was  spoken  by  Miss  Monier,  a  young 
lady  of  no  remarkable  force,  but  equal  to  any  then  at 
the  Lion,  which  as  a  whole  was  a  poor  company.  The 
first  tragedian  who  trod  the  boards  was  Mr.  Ingersoll, 
a  native  of  Charlestown,  then  about  twenty-two  years 
of  age,  who  created  some  sensation  in  Damon  and 
Virginius.  Mrs.  Hamblin  appeared,  and  "  Zante,"  and 
the  "  Secret  Mine,"  an  equestrian  melo-dramatic  piece, 
was  brought  out,  and  to  Mr.  Barrymore's  superior  skill 
as  a  manager  it  was  indebted  for  its  popularity.  The 
grand  spectacle  drama  of  "  The  Jewess,"  was  produced 
at  a  great  expense.  Every  attention  was  paid  to 
scenic  effect ;  the  costumes  were  made  by  that  prince 
of  costumers,  Andrew  Jackson  Allen.  The  entire  stud 
of  horses,  elephants,  camels,  and  dromedaries,  gave 
great  effect  to  the  procession.  The  leading  parts  were 
sustained  as  follows  :  Mbrdecai,  Mr.  Ingersoll ;  Esther, 
Mrs.  Hamblin ;  Vashiti,  Mrs.  Ingersoll.  This  play 
was  not  "  The  Jewess "  which  had  been  produced  at 
the  South  with  such  effect,  but  the  Book  of  Esther 


422  RECORD    OF    THE    BOSTON    STAGE. 

dramatized.  It  was  very  popular.  Mrs.  Barrymore 
introduced  a  dance  of  children,  who  in  their  drilling 
gave  us  a  foretaste  of  the  Viennoise  Children,  while  as 
an  instructor  Mrs.  B.  was  fully  equal  to  Madame  Wiess. 
"Tekeli,"  "Ivan,"  and  other  equestrian  pieces,  were  got 
up,  and  Mr.  Barrymore  wrote  and  produced  a  two-act 
melo-drama,  called  "  Lorvina  of  Tobolski,"  which  was 
popular.  Johnson,  the  clown,  invariably  kept  the  children 
in  good  humor,  and  the  theatre  was  well  patronized. 
John  Sefton  brought  out  the  "  Golden  Farmer,"  which 
had  a  great  run.  The  first  season  closed  in  April,  1836, 
when  the  equestrians  started  on  their  summer  excur 
sions,  through  the  country,  commencing  at  Weymouth, 
and  Messrs.  Ingersoll  and  Hunt  took  a  portion  of  the 
properties,  scenery,  etc.,  to  Providence,  and  there 
opened  the  Lion  Theatre. 

The  Lion  Theatre  was  shortly  after  re-opened  by 
Mr.  Barrymore,  and  on  Monday  evening,  May  16,  '36, 
Mr.  J.  B.  Booth  appeared.  It  closed  after  Mr.  Booth's 
engagement.  In  the  summer  of  1836,  the  old  building 
in  front  of  the  theatre  was  pulled  down,  and  the  present 
stores  erected.  Alterations  were  also  made  in  the  in 
terior.  Mr.  Smith  superintended  the  decorations.  Mr. 
Harrison,  formerly  of  the  Bowery,  then  just  destroyed 
by  fire,  came  on  to  take  the  acting  management  for  the 
next  season,  which  commenced  Nov.  7,  1836.  Mr. 
Colingbourn  was  stage-manager,  and  the  whole  was 
under  the  superintendence  of  Welch.  The  same  style 
of  entertainments  was  continued  till  April,  when  the 
theatre  was  closed,  and  the  house  and  land  were  offered 
for  sale  or  to  let.  In  the  month  of  June,  Cooke's  eques 
trian  company  leased  the  Lion,  and  gave  entertainments, 


RECORD    OF    THE    BOSTON    STAGE.  423 

the  best  of  the  kind  we  ever  had  in  this  city.  The  stud 
of  horses  was  never  surpassed,  and  many  of  them  were 
unfortunately  burnt  at  a  fire  in  Philadelphia.  Messrs. 
Houpt  &  Thorne  next  tried  their  hands  at  managing 
the  Lion,  and  C.  H.  Eaton  appeared,  supported  by  Mr. 
and  Mrs.  Hield,  but  it  was  a  brief  season. 

The  theatre  was  repeatedly  offered  for  sale,  and  was 
closed  for  several  months.  The  monetary  panic  had,  in 
1837,  a  most  disastrous  effect  upon  the  drama,  and  the 
atrical  performances  of  all  descriptions.  Mr.  Davenport, 
father  of  Miss  J.  M.  Davenport,  leased  the  theatre  in 
October,  1838.  Miss  Davenport  had  already  appeared 
at  the  National,  and  she  succeeded  in  attracting  full 
and  very  select  audiences  to  the  Lion,  during  a  brief 
season.  Mr.  John  Redman  finally  became  the  pur 
chaser  of  the  theatre,  and  at  once  converted  it  into  a 
concert  and  lecture  hall.  According  to  Dr.  J.  V.  C. 
Smith,  he  christened  his  purchase  the  "Mechanics' 
Institute,"  and  caused  it  to  be  cut  in  granite  over  the 
front  door ;  but  when  the  Handel  and  Haydn  Society 
leased  it  for  their  sacred  oratorios,  they  covered  this 
over  with  a  sign,  which  designated  it  the  Melodeon,  by 
which  name  it  was  known.  The  first  performance 
given  by  the  Handel  and  Haydn  Society  was  December 
29,  1839,  when  the  "  Messiah  "  was  produced.  Miscel 
laneous  concerts  had  previously  been  held  there.  On 
Sundays,  the  hall  was  occupied  by  a  religious  society, 
and  week  days  was  let  to  entertainments  of  a  promiscu 
ous  character. 

In  1844,  a  Mr.  Leander  Rodney  leased  the  Melodeon 
for  a  brief  season,  and  converted  it  into  a  temporary 
theatre,  when  Mr.  Macready  and  Miss  Cushman  ap- 


424  RECORD    OF    THE    BOSTON    STAGE. 

peared,  and  attracted  the  most  fashionable  audiences. 
Since  then  it  has  been  enlarged  in  the  interior,  and 
subsequently  became  the  property  of  Mr.  Eliphalet 
Baker ;  and  on  account  of  the  fine  acoustic  qualities  it 
possessed,  was  selected  by  Jenny  Lind,  Sontag,  Alboni, 
and  other  musical  celebrities,  for  their  entertainments. 
It  has  now  passed,  by  purchase,  into  the  hands  of  the 
"  Boston  Theatre  and  New  Opera  House  Company." 


CHAPTER    XXXI. 

The  Howard  Athenaeum.  —  W.  F.  Johnson.  —  The  Opening  Com 
pany.  —  Jas.  H.  Hackett.  —  A  Sketch  of  the  Baron.  — •  His  Youthful 
Days.  —  The  Seguins.  —  Mrs.  Anna  Cora  Mowatt.  —  A  Sketch  of 
Mrs.  Mowatt.  —  Her  Career  as  an  Actress.  —  Edward  Davenport, 
etc.  etc. 

THE  Millerite  excitement  of  1843-4  reached  its 
climax  in  the  following  year.  The  venerable  Father 
Miller,  finding  that  the  day  set  apart  by  him  for  the 
closing  up  of  all  earthly  affairs,  did  not  result  as  he 
.anticipated,  entered  into  another  calculation,  and  dis 
covered  a  slight  mistake  of  a  few  hundred  or  a  few 
thousand  years,  we  forget  which.  This  announcement 
saddened  the  hearts  of  those  who  had  given  up  all,  and 
made  preparation  for  immediate  departure,  and  their 
place  of  worship  in  Howard  Street,  called  the  Taber 
nacle,  was  soon  afterwards  deserted,  and  remained  for 


RECORD    OF    THE    BOSTON    STAGE.  425 

a  short  time  a  miserable  wooden  monument,  one  story 
high,  to  the  folly  of  Millerism. 

The  want  of  a  leading  theatre,  in  a  city  where  stran 
gers  were  thrown  upon  their  resources  in  the  evening, 
was  severely  felt,  for  in  the  spring  of  1845  the  Boston 
Museum,  and  the  National  Theatre,  were  the  only 
prominent  places  of  public  amusement.  A  small  saloon, 
called  Graham's  Olympic,  had  a  location  in  Court  St., 
but  three  hundred  persons  would  have  given  a  "packed 
house,"  and  the  Boston  Theatre  had  not  then  been  re 
opened.  The  Tabernacle,  from  its  central  position, 
seemed  to  offer  a  very  excellent  site  for  a  theatre,  and 
W.  F.  Johnson,  W.  L.  Ayling,  Thos.  Ford,  and  Leon 
ard  Brayley,  thought  that  it  might  with  profit  be  con 
verted  into  a  temporary  residence  for  Thespis  and 
Melpomene.  The  Millerites  were  not  particularly 
partial  to  theatrical  representations,  and  it  was  evident 
that  some  shrewdness  must  be  exhibited  in  procuring 
the  lease,  lest  they  might  think  that  De  Foe's  couplet, 

"  Wherever  God  erects  a  house  of  prayer, 
The  devil  always  builds  a  chapel  there," 

was  about  to  have  a  permanent  realization.  They  were 
at  first  opposed  to  leasing  it,  on  any  account,  but  finally 
concluded  a  bargain  and  signed  the  lease  ;  and  the 
mechanic's  hammer,  the  artist's  brush,  and  decorator's 
skill,  were  soon  brought  into  requisition,  and  the  ex 
terior  and  interior  soon  underwent  an  important  change. 
A  handsome  front  was  erected,  painted  to  resemble 
free  stone,  with  neat  and  convenient  entrances.  The 
floor  descended  .from  the  entrance  to  the  orchestra,  with 
a  pitch  which  secured  an  uninterrupted  view  of  the 


426  RECORD    OF   THE    BOSTON    STAGE. 

foot-lights  to  the  most  distant  seats,  which  were  cush 
ioned.  The  scenic  artists,  Messrs.  Jones  and  Curtis, 
gave  to  the  scenic  appointments  a  pleasant  aspect,  while 
the  former  exhibited  his  talent  in  an  act  drop,  illustrative 
of  the  passage  in  "  As  You  Like  It," 

"  Kun,  run,  Orlando,  carve  on  every  tree 
The  fair,  the  chaste,  the  unexpressive  she." 

The  new  theatre  was  called  the  Howard  Athena3um, 
and  the  following  ladies  and  gentlemen  were  members 
of  the  regular  stock  company  :  —  Mesdames  Maeder, 
H.  Cramer,  W.  L.  Ayling,  W.  H.  Chippendale,  C.  W. 
Hunt,  Walcott,  Judah,  G.  Howard,  Wm.  Jones,  W.  H. 
Smith,  Misses  Drake,  Booth,  Mace,  De  Luce,  Messrs. 
W.  F.  Johnson,  W.  L.  Ayling,  G.  W.  Jamieson,  J.  A. 
J.  Neafie,  A.  J.  Phillips,  D.  Whiting,  C.  H.  Walcott, 
G.  Howard,  Sullivan,  Booth,  Parker,  Munroe,  Russell, 
Binnie,  Taylor,  Davis,  Jones,  Adams,  Resor,  Gilbert, 
and  Master  Fox.  Mr.  Meyrer  was  leader  of  the 
orchestra. 

The  performances  on  the  opening  night,  (Oct.  13, 
1845,)  under  the  stage-management  of  Messrs.  Johnson 
and  Ayling,  Messrs.  Ford  and  Brayley  attending  to  the 
business,  consisted  of  an  Opening  Address,  written  by 
F.  S.  Hill,  Esq.,  spoken  by  Mrs.  Cramer,  the  "  School 
for  Scandal,"  and  the  «  Day  After  the  Wedding."  The 
admittance  to  all  parts  of  the  house  was  50  cents,  and 
a  numerous  auditory  gave  the  enterprise  a  substantial 
token  of  support  on  the  first  night.  On  the  third  night 
Mr.  James  H.  Hackett  appeared.  As  we  have  omitted 
any  sketch  of  this  gentleman,  we  will  here  supply  the 
deficiency. 


RECORD    OF   THE   BOSTON    STAGE.  427 

James  Henry  Hackett  was  born  in  the  city  of  New 
York  on  the  loth  of  March,  1800.  His  father,  Thos. 
G.  Hackett,  was  a  native  of  Holland,  and  emigrated  to 
America  in  1794,  and  died  in  1803.  The  widow,  with 
her  only  son,  James  Henry,  retired  to  Jamaica,  L.  I., 
and  in  the  Academy  there  young  James  acquired  the 
rudiments  of  his  education,  and  sufficient  knowledge  of 
the  classics  to  obtain  an  entrance  at  Columbia  Colleg3 
in  New  York,  in  1812.  He  remained  in  college  about 
two  years,  when  he  renounced  his  original  intention  of 
studying  law,  and  entered  the  counting-house  of  one  of 
his  relatives.  In  1819,  Mr.  Hackett  married  Miss  Lee 
Sugg,  then  a  popular  actress  at  the  Park  Theatre,  New 
York,  and  retired  to  Utica,  where  he  was  engaged  suc 
cessfully  in  trade.  In  1825,  a  desire  to  enter  upon  a 
wider  field  of  speculation  induced  him  to  visit  New 
York,  where  in  a  short  time  he  found  himself  so  em 
barrassed,  that  he  determined  to  accept  the  stage  as  a 
profession,  having  in  early  life  had  strong  dramatic 
predilections,  coupled  with  great  cleverness  as  a  mimic, 
and  in  March,  1826,  he  made  his  first  appearance  on 
any  stage  at  the  Park  Theatre,  N.  Y.,  as  Justice  Wood 
cock,  in  "  Love  in  a  Village."  His  success  was  equi 
vocal  for  some  time,  but  he  finally  made  a  hit  as  one  of 
the  Dromios,  in  the  "  Comedy  of  Errors."  In  1826, 
he  visited  England,  and  in  April,  1827,  he  was  induced 
to  try  an  experiment  at  Co  vent  Garden,  by  introducing 
Yankee  stories,  and  imitations  of  Kean,  Macready,  etc., 
which  was  partially  successful.  In  1829,  Mr.  Hackett 
became  lessee  and  manager  of  the  Chatham  and  Bowery 
Theatres,  but  soon  gave  them  up,  and  dcvo.cd  his  tune 


430  RECORD    OF    THE    BOSTON    STAGE. 

brought  out  "  Norma  "  for  the  first  time,  which  we  shall 
allude  to  more  at  length. 

On  the  30th  of  November,  Mrs.  Anna  Cora  Mowatt, 
supported  by  Mr.  Crisp,  made  her  first  appearance  in 
this  city  on  the  stage,  having  read  in  public  previous  to 
this.  She  was  supported  by  Mr.  W.  H.  Crisp,  and 
commenced  her  honorable  career  in  this  city  as  Pauline, 
in  the  "  Lady  of  Lyons  ; "  Mrs.  Judah,  her  first  appear 
ance,  as  Madame  Deschappelles.  Mrs.  Mowatt  subse 
quently  appeared  in  the  "  Honey  Moon,"  "  The  Wife," 
"  School  for  Scandal/'  "  Romeo  and  Juliet,"  and  on  the 
llth  inst.,  brought  out  her  own  comedy  of  "  Fashion," 
which  had  had  a  run  of  three  weeks  in  New  York. 

The  career  of  Mrs.  Mowatt  has  been  one  of  the  most 
remarkable  that  the  annals  of  the  stage  bears  record  of, 
and  we  will  briefly  give  an  outline  sketch  of  her  bio 
graphy.  Anna  Cora  Ogden  was  born  in  Bordeaux, 
France,  whither  her  father  had  removed  from  the 
United  States  for  business  purposes.  Her  mother  was 
the  grand-daughter  of  Francis  Lewis,  one  of  the  signers 
of  the  Declaration  of  Independence.  Anna  was  the 
tenth  of  fourteen  children,  and  in  an  old  chateau,  where 
they  resided,  near  Bordeaux,  she  first  gave  promise  of 
the  possession  of  histrionic  talent,  while  performing  on 
fete  days  and  anniversaries,  little  plays  which  were  cast 
to  the  strength  of  this  numerous  family.  Unfortunate 
in  business,  Mr.  Ogden  returned  to  America,  Anna 
being  then  six  years  of  age,  and  the  voyage  was  one  of 
great  severity.  The  vessel  became  a  wreck,  and  one  of 
her  brothers  was  lost.  The  passengers  and  crew  clung 
to  the  wreck,  and  were  rescued  by  a  vessel  bound  to 


RECORD    OF    THE    BOSTON    STAGE.  431 

Havre.  From  that  port  a  second  departure  was  taken, 
and  the  family  arrived  in  New  York,  where  Anna 
received  a  most  excellent  education.  Although  the 
parents  possessed  no  decided  predilections  for  the  stage, 
all  the  members  had  a  taste  and  love  of  the  stage,  and 
private  theatricals  was  the  principal  amusement  of  this 
very  happy  family,  in  which  Anna  took  the  lead,  not 
only  playing  the  heroines,  but  adapting  pieces  for  the 
mimic  stage.  When  Anna  was  but  fourteen,  Mr. 
Mowatt,  a  lawyer  of  wealth,  became  quite  attached  to 
her,  and,  after  some  years  of  attention,  they  were  mar 
ried,  without  the  knowledge  of  her  parents,  who  did 
not  object  to  the  match,  but  thought  her  youth  a  barrier 
to  present  marriage.  Mrs.  Mowatt  subsequently  visited 
Europe  for  the  benefit  of  her  health,  accompanying  a 
married  sister,  and  while  in  Paris  wrote  a  five-act  play 
called  the  "  Persian  Slave,"  which  was  performed  on 
her  return  home.  Misfortune  overtook  her  husband, 
and  the  fond  wife  resolved  at  once  to  exert  herself  for 
his  advantage.  She  determined  to  give  public  readings. 
"  For  reasons,"  says  an  article  in  Howitt's  Journal, 
published  when  Mrs.  Mowatt  appeared  in  England, 
"  which  every  reader  will  perfectly  appreciate,  she  felt 
she  could  not  commence  this  new  and  public  life  in 
New  York,  where  she  had  been  known  under  circum 
stances  so  totally  different :  she  therefore  selected  Bos 
ton,  the  most  intellectual  city  of  the  Union,  as  the  place 
of  debut.  Mrs.  Mo  watt's  name  was  already  known  to 
the  press,  by  a  number  of  fugitive  poems  and  tales  con 
tributed  to  magazines  of  the  day,  and  she  was  warmly 
welcomed  by  the  Boston  public.  The  hall  was  filled  to 
repletion,  and  when  the  delicate  form  of  the  debutante 


430  RECORD    OF    THE    BOSTON    STAGE. 

brought  out  "  Norma  "  for  the  first  time,  which  we  shall 
allude  to  more  at  length. 

On  the  30th  of  November,  Mrs.  Anna  Cora  Mowatt, 
supported  by  Mr.  Crisp,  made  her  first  appearance  in 
this  city  on  the  stage,  having  read  in  public  previous  to 
this.  She  was  supported  by  Mr.  W.  H.  Crisp,  and 
commenced  her  honorable  career  in  this  city  as  Pauline, 
in  the  "  Lady  of  Lyons  ; "  Mrs.  Judah,  her  first  appear 
ance,  as  Madame  Deschappelles.  Mrs.  Mowatt  subse 
quently  appeared  in  the  "  Honey  Moon,"  "  The  Wife," 
"  School  for  Scandal/'  "  Romeo  and  Juliet,"  and  on  the 
llth  inst.,  brought  out  her  own  comedy  of  "  Fashion," 
which  had  had  a  run  of  three  weeks  in  New  York. 

The  career  of  Mrs.  Mowatt  has  been  one  of  the  most 
remarkable  that  the  annals  of  the  stage  bears  record  of, 
and  we  will  briefly  give  an  outline  sketch  of  her  bio 
graphy.  Anna  Cora  Ogden  was  born  in  Bordeaux, 
France,  whither  her  father  had  removed  from  the 
United  States  for  business  purposes.  Her  mother  was 
the  grand-daughter  of  Francis  Lewis,  one  of  the  signers 
of  the  Declaration  of  Independence.  Anna  was  the 
tenth  of  fourteen  children,  and  in  an  old  chateau,  where 
they  resided,  near  Bordeaux,  she  first  gave  promise  of 
the  possession  of  histrionic  talent,  while  performing  on 
fete  days  and  anniversaries,  little  plays  which  were  cast 
to  the  strength  of  this  numerous  family.  Unfortunate 
in  business,  Mr.  Ogden  returned  to  America,  Anna 
being  then  six  years  of  age,  and  the  voyage  was  one  of 
great  severity.  The  vessel  became  a  wreck,  and  one  of 
her  brothers  was  lost.  The  passengers  and  crew  clung 
to  the  wreck,  and  were  rescued  by  a  vessel  bound  to 


RECORD    OF    THE    BOSTON    STAGE.  431 

Havre.  From  that  port  a  second  departure  was  taken, 
and  the  family  arrived  in  New  York,  where  Anna 
received  a  most  excellent  education.  Although  the 
parents  possessed  no  decided  predilections  for  the  stage, 
all  the  members  had  a  taste  and  love  of  the  stage,  and 
private  theatricals  was  the  principal  amusement  of  this 
very  happy  family,  in  which  Anna  took  the  lead,  not 
only  playing  the  heroines,  but  adapting  pieces  for  the 
mimic  stage.  When  Anna  was  but  fourteen,  Mr. 
Mowatt,  a  lawyer  of  wealth,  became  quite  attached  to 
her,  and,  after  some  years  of  attention,  they  were  mar 
ried,  without  the  knowledge  of  her  parents,  who  did 
not  object  to  the  match,  but  thought  her  youth  a  barrier 
to  present  marriage.  Mrs.  Mowatt  subsequently  visited 
Europe  for  the  benefit  of  her  health,  accompanying  a 
married  sister,  and  while  in  Paris  wrote  a  five-act  play 
called  the  "  Persian  Slave,"  which  was  performed  on 
her  return  home.  Misfortune  overtook  her  husband, 
and  the  fond  wife  resolved  at  once  to  exert  herself  for 
his  advantage.  She  determined  to  give  public  readings. 
"  For  reasons,"  says  an  article  in  Hewitt's  Journal, 
published  when  Mrs.  Mowatt  appeared  in  England, 
"  which  every  reader  will  perfectly  appreciate,  she  felt 
she  could  not  commence  this  new  and  public  life  in 
New  York,  where  she  had  been  known  under  circum 
stances  so  totally  different :  she  therefore  selected  Bos 
ton,  the  most  intellectual  city  of  the  Union,  as  the  place 
of  debut.  Mrs.  Mo  watt's  name  was  already  known  to 
the  press,  by  a  number  of  fugitive  poems  and  tales  con 
tributed  to  magazines  of  the  day,  and  she  was  warmly 
welcomed  by  the  Boston  public.  The  hall  was  filled  to 
repletion,  and  when  the  delicate  form  of  the  debutante 


432       RECORD  OF  THE  BOSTON  STAGE. 

appeared  on  the  platform,  there  was  a  murmur  of  sur 
prise,  that  so  fragile  a  bud  had  attempted  so  arduous  a 
mission."  Her  first  reading  was  given  at  the  Masonic 
Temple,  on  Thursday  evening,  October  28,  1841.  She 
carried  with  her  the  heart  of  every  listener,  for  she  ex 
hibited  the  most  beautiful  moral  spectacle  of  which 
human  nature  is  capable,  that  of  a  wife  turning  her 
accomplishments  to  account,  to  relieve  the  necessities 
of  her  husband.  Her  youth  and  beauty,  though  suffi 
cient  of  themselves  to  command  attention,  were  lost 
sight  of  when  she  began  to  speak,  and  one  had  leisure 
only  to  regard  the  exquisite  tones  of  her  voice,  as  it 
gave  utterance  to  her  admirable  conceptions  of  poetical 
genius.  Her  stay  in  this  city  was  brief,  but  the  judg 
ment  then  pronounced  upon  her  abilities  was  final,  for 
having  passed  through  the  ordeal  of  Boston  criticism,  and 
met  with  approval,  she  fearlessly  went  forth  to  fascinate 
by  the  loveliness  of  her  person,  and  to  captivate  by  the 
genuineness  of  her  talent.  Mrs.  Mowatt  had  been  in 
duced  to  enter  upon  this  career,  in  the  hopes  of  saving 
her  husband's  estate  from  being  sold,  but  the  anxiety  and 
the  labor  self-imposed  proved  too  much  for  her  feeble 
frame,  and  she  was  for  some  time  seriously  ill,  and  the 
homestead  she  cherished  was  sold.  On  her  recovery, 
her  husband  became  the  principal  partner  in  the  pub 
lishing  business,  and  Mrs.  Mowatt  exerted  the  strength 
of  her  intellect  to  assist  him.  Under  the  name  of  Mrs. 
Helen  Berkley,  she  wrote  a  series  of  very  popular 
articles,  and  also  brought  out  a  novel  called  the  Fortune 
Hunter,  and  collated  and  revised  many  books  for  her 
husband  to  publish,  from  which  much  money  was  made. 
Her  husband  was  again  unfortunate,  when  she  turned 


RECORD    OF    THE    BOSTON    STAGE.  433 

her  hand  to  another  department  of  literature,  and  wrote 
"  Fashion,"  a  five-act  play,  the  intention  of  which  was 
to  satirize  the  life  of  the  parvenues  of  America.    It  was 
brought  out  at  the  Park  in  New  York,  and  was  well 
received,  though  a  difference  of  opinion  was  entertained 
as  to  its  merits.     Edgar  A.  Poe  remarked  that  its  gen 
eral  tone  was  adopted  from  the  "  School  for  Scandal," 
to  which  it  bore  just  such  an  affinity  as  the  shell  of  a 
locust  to  the  locust  that  tenants  it,  "  as  the  spectrum  of 
a  Congreve  Rocket  to  the  Congreve  Rocket  itself."     It 
possessed    considerable   merit   as    a   composition,  and 
was   played  in  several  theatres  in  the  Union.     Mrs. 
Mowatt  finally  concluded  to  adopt  the  profession,  and 
made  her  debut  at  the  Park  Theatre  in  the  fall  of  1845, 
as  Pauline  in  the  "Lady  of  Lyons,"  and  from  that 
moment  to  the  present  her  success  has  been  brilliant. 
"  The  great  charm  of  her  acting,"  remarked  Poe  at  that 
time,  "  is  its  naturalness.    She  looks,  speaks,  and  moves, 
with  a  well-controlled  impulsiveness,  as  different  as  can 
be  conceived  from  the  customary  rant  and  cant,  the 
harsh  conventionality  of  the  stage."     This  is  true  of 
present  style,  which  possesses  in  an  eminent  degree  an 
ever  varying  freshness.     She  had  made  but  little  pre 
paration  for  her  new  career.     Mr.  W.  H.  Crisp  im 
parted  to  her  some  general  ideas,  but  the  rest  was 
nature's  dictation.     She  shortly  after  her  debut  came 
to  Boston,  and,  as  we  have  stated,  appeared  at  the 
Howard  Athenaeum  under  the  management  of  W.  F. 
Johnson.     To  follow  Mrs.  Mowatt  in  her  subsequent 
wanderings,  would  occupy  more  space  than  we   can 
devote.   Her  tour  at  the  South  was  a  dramatic  triumph, 
which  a  veteran  might  hare  been  proud  of;  and  in 
28 


434  RECORD    OF    THE    BOSTON    STAGE. 

'every  city  she  left  such  a  favorable  impression,  that  her 
more  recent  visits  have  invariably  attracted  good  houses, 
and  rendered  her,  excepting  Forrest,  the  most  attractive 
star  of  the  day.  In  1847,  Mrs.  Mowatt  brought  out 
her  most  popular  play  of  "  Armand,  or  the  Child  of 
the  People,"  —  which  was  produced  in  New  York  and 
Boston,  just  prior  to  her  departure  for  Europe,  which 
took  place  on  the  1st  of  November  from  Boston.  Her 
career  in  Europe  was  every  way  successful,  and  she 
gained  not  only  the  applause  due  to  talent,  but  the 
friendship  and  esteem  of  many  who  bestowed  their 
admiration  upon  one  who  was  so  justly  entitled  to  it. 
She  was  accompanied  by  Mr.  Edward  Davenport,  a 
Boston  boy,  who  has  reflected  credit  upon  the  city  of 
his  birth,  by  his  theatrical  success. 

Mrs.  Mowatt,  while  in  England,  had  the  misfortune 
to  lose  her  husband,  and  passed  the  early  months  of 
widowhood  in  retirement,  and  after  an  absence  of  four 
years  returned  to  America,  in  improved  health,  once 
more  to  delight  her  friends,  whose  name  is  legion. 
Report  now  has  it,  that  Mrs.  Mowatt  is  shortly  to  be 
married  to  Mr.  Ritchie,  of  Richmond,  and  will  leave 
the  stage.  However  much  we  might  rejoice  at  this 
union,  the  public  will  regret  it,  for  it  removes  from  them 
an  actress  whose  presence  is  ever  welcome,  and  who 
had,  when  an  accident  befell  her  in  the  month  of  March, 
1852,  by  being  thrown  from  her  horse  in  this  city,  an 
opportunity  of  knowing  in  what  esteem  she  is  held  by 
our  residents. 


RECORD    OF    THE    BOSTON    STAGE.  435 


CHAPTER  XXXII. 

The  Seguins  in  Norma. — First  Production  of  that  Piece.  —  Mr.  and 
Mrs.  Charles  Kean.  — Mr.  Stark,  Dyott,  Mr.  Murdoch,  Miss  Fanny 
Jones,  Miss  Mary  Ann  Lee.  —  The  Seguins,  and  the  "  Bohemian 
Girl,"  etc.  etc. 

WE  have  already  noticed  the  career  of  the  Seguins  in 
our  city  from  its  commencement  in  November,  1838,  to 
its  de  facto  termination  in  1847.  Under  the  skilful  man 
agement  of  Mrs.  Seguin  and  her  indefatigable  exertions, 
the  popularity  acquired  for  English  versions  of  Italian, 
French,  and  German  opera  by  "The  Woods,"  Mrs. 
Austin,  Miss  Hughes,  Phillips,  and  other  brilliant 
singers,  remained  intact,  until  mock  turtle  went  out  of 
fashion,  as  the  genuine  article  became  known  by  Marti's 
excellent  company.  The  most  successful  and  brilliant 
English  opera  season  in  this  city  after  the  days  of  "  The 
Woods,"  commenced  at  the  old  Tabernacle,  or  Howard 
Athenaeum,  by  grace  of  a  lively  imagination,  on  the 
27th  of  October,  1845,  when  the  since  world  famous 
opera  "  Norma  "  was  for  the  first  time  performed  here 
in  English  version.  Seguin  was  the  Oroveso  ;  his  wife, 
the  Druid  Priestess  ;  Eraser,  the  Roman  Proconsul ; 
and  Mrs.  Maeder,  the  gentle  Adalgisa.  The  opera 
took  well,  and  was  given  five  times  to  full  houses.  For 
the  closing  night  of  this  brief  engagement,  selections 
were  given  from  the  "  Bohemian  Girl,"  "  La  Sonnam- 
bula,"  "  Cinderella,"  " Fra  Diavolo,"  "Amilie,"  "The 
Mountain  Sylph,"  "  Niobe,"  and  "  Guy  Mannering."  It 


436  RECORD    OF    THE    BOSTON    STAGE. 

was  estimated  that  1300  or  1500  persons  attended  each 
night  that  "  Norma  "  was  performed,  and  the  principals 
satisfied  expectation  well  in  that  most  trying  opera. 
Engagements  at  the  South  enforced  a  close  of  this  brief 
and  prosperous  season,  but  a  promise  to  return  for  a 
long  sojourn  here  relieved  opera-goers  from  a  great 
weight  of  sorrow  when  the  Seguin  company  left  Boston 
that  winter. 

Mr.  and  Mrs.  Charles  Kean  appeared  in  November, 
and  during  their  engagement  the  company  was  strength 
ened  by  the  appearance  of  Mr.  Dyott,  and  Mr.  Stark, 
who  came  to  Boston  from  the  Provinces.  He  was  a 
member  of  the  elocution  class  of  the  Lyceum,  and  dis 
tinguished  himself  by  his  impersonations  of  ShylocJc^ 
and  under  Mr.  Murdoch  made  great  progress.  He 
subsequently  appeared  at  the  National,  and  then  visited 
Europe.  It  was  on  his  return  that  he  joined  the  How 
ard  company,  and  supported  Mrs.  Mowatt  and  the 
Keans.  Of  late  years  he  has  been  in  California,  and 
at  the  present  writing  is  on  his  way  to  Australia. 

There  was  some  little  feeling  manifested  at  the  rais 
ing  of  prices  from  50  cts.  to  $1.00  during  the  Keans' 
engagement,  but  the  Boston  public  wisely  concluded 
not  to  raise  any  row,  but  to  allow  those  who  were 
willing  to  pay  the  dollar  to  visit  the  theatre,  and  those 
"  contrary  minded  "  to  remain  at  home,  the  only  wise 
plan  in  this  enlightened  age.  The  managers  gave  the 
Keans  a  clear  half,  and  were  obliged  to  take  this  course. 
The  Keans  at  first  did  not  do  well,  but  the  houses 
gradually  improved,  as  many  desired  to  take  a  farewell 
of  the  once  charming  Ellen  Tree,  and  others  to  behold 
one  of  whom  report  had  told  so  flattering  a  tale.  The 


RECORD    OF    THE    BOSTON    STAGE.  437 

poorest  house  they  played  to  was  on  Thanksgiving 
evening,  but  Mr.  Kean  very  generously  gave  up  to  the 
management  his  share  of  the  receipts. 

Mr.  Murdoch  succeeded  the  Keans,  and  was  followed 
by  Miss  Mary  Ann  Lee,  the  danseuse,  who  was  sup 
ported  by  George  W.  Smyth.  A  more  graceful  dan 
seuse  than  Miss  Lee  has  rarely  been  on  our  boards. 
Her  style  was  similar  to  that  of  Blangy,  and,  possessing 
a  beautiful  face,  she  captivated  many  susceptible  young 
Bostonians.  On  the  night  of  a  complimentary  benefit, 
she  appeared  in  "  One  Hour,  or  the  Carnival  Ball,"  and 
gave  evidence  of  the  possession  of  vocal  talent.  During 
Miss  Lee's  engagement,  a  complimentary  benefit  was 
given  to  Miss  Fanny  Jones,  (Jan.  7, 1846,)  who  danced 
a  ball-room  polka  with  Mrs.  Hunt,  and  several  fancy 
dances,  her  last  appearance  on  the  stage. 

On  the  12th  of  January,  1846,  the  Seguins  according 
to  contract  returned,  and  commenced  with  Balfe's 
popular  "  Bohemian  Girl ;  "  a  run  which  no  other  com 
pany  ever  attained,  the  engagement  being  extended 
by  renewals  to  February  16th.  Operatic  performances 
were  given  in  this  long  interval  five  times  a  week,  and 
generally  a  concert  in  which  the  principals  were  engaged 
was  given  Saturday  evening. 

The  "Bohemian  Girl"  took  well,  as  in  that  Mrs. 
Seguin  had  a  part  suited  to  develop  her  best  talent, 
Seguin  ample  scope  for  drollery,  and  Frazer  his  best 
songs.  Delavanti  was  rather  stiff  in  action,  but  his 
voice  has  rarely  been  equalled  upon  our  lyric  stage, 
and  he  still  occupies,  in  English  opera,  where  it  finds  its 
last  abiding  place,  the  provincial  towns  of  old  England, 
a  good  position.  The  gems  of  this  opera  were  soon  the 


438  RECORD    OF    THE    BOSTON    STAGE. 

rage  in  saloons,  and  ground  upon  organs,  or  hummed  in 
the  streets.  "  I  dreamt  that  I  dwelt  in  marble  halls," 
absolutely  possessed,  as  with  an  enchanter's  spell,  the 
female  population  of  this  vicinity,  and  that  was  the  all- 
engrossing  idea  of  amateur  singers.  In  a  large  party 
given  during  this  excitement,  request  was  made  for  a 
song,  and  the  ladies  present  being  interrogated  as  to 
their  repertoire,  each  and  all  responded  "  I  dreamt." 

That  excess  of  popularity  did  not.  however,  long 
endure,  and  Mrs.  Seguin  found  it  at  last  voted  de  trop, 
both  in  the  concert  room  and  in  character.  "  Come 
with  the  Gipsey  Bride,"  "  The  fair  land  of  Poland," 
and  "You'll  remember  me,"  yet  retain  a  good  measure 
of  popular  regard,  and  would  even  now  find  a  response 
in  the  general  pulse.  "  La  Sonnambula,"  "  Fra  Dia- 
volo,"  "The  Elixir  of  Love,"  "  The  Postillion  of  Lon- 
jumeau,"  "  Cinderella,"  "  Masaniello,"  "Norma,"  "The 
Marriage  of  Figaro,"  "  Rob  Roy,"  and  "  Olympic 
Revels,"  were  afterwards  presented.  "  Fra  Diavolo  " 
and  "  The  Postillion  "  gave  Seguin  fine  opportunity  to 
show  off  his  redundant  vis-comica,  and  most  thoroughly 
did  he  improve  the  chance.  In  the  former  his  mimicry 
and  spirited  action  gave  color  and  life  to  the  opera,  and 
in  the  "Postillion"  he  was  essential  to  a  successful 
performance,  as  the  song  "  A  Primo  Basso,  Sir,  am  I," 
never  failed  to  bring  down  the  house,  though  he  did  not 
always  get  down  to  double  Gr,  as  pretended. 

Beside  the  versatility  and  clever  singing  of  Mrs. 
Seguin,  who  seemed  competent  to  every  style  of  music, 
and  united  to  good  action  a  pleasing  voice  and  prepos 
sessing  appearance  to  please  the  public,  the  sweet  and 
mellow  tenor  of  Frazer  had,  despite  his  habit  of  singing 


RECORD    OF    THE   BOSTON    STAGE.  439 

false,  and  never  reaching  quite  up  to  pitch,  attraction 
for  the  masses.  Without  her  aid  he  was  nothing,  but 
sustained  and  kept  up  by  a  well  trained  and  instructed 
director,  he  was  not  the  worst  tenor  who  has  taken  first 
business  here.  The  aid  given  by  Mrs.  Maeder  was 
material  in  good  execution  of  her  music,  and  W.  F. 
Johnson  supplied  a  good  Marquis  for  the  Postillion,  so 
far  as  the  action  and  by-play  were  concerned. 

Supported  by  a  good  chorus  and  fair  orchestra,  the 
Seguins  brought  out  their  operas  in  so  taking  a  style, 
that  for  six  weeks  crowds  were  attracted  into  a  crazy 
old  building  which  leaked  at  every  thaw  or  hard  shower, 
and  was  deemed  by  many  liable  to  fall  upon  the  multi 
tude  at  any  moment  from  very  weakness  of  construc 
tion. 

So  potent  was  the  spell  that  bound  old  Boston  to 
English  opera  then,  that  almost  every  performance  had 
a  good  house,  and  many  were  honored  with  overflows. 
Two  benefits  were  awarded  to  Mrs.  Seguin,  and  both 
had  1400  auditors  within  the  walls,  beside  many  hun 
dreds  unable  to  obtain  admission,  that  remained  upon 
the  side-walks  content  with  catching  a  strain  at  intervals. 

Mrs.  Maeder's  benefit  closed  this  long  season,  and 
witnessed  the  last  honors  paid  to  English  opera  and  the 
Seguins.  They  came  again,  and  tried  to  overcome  the 
attraction  of  Italian  opera,  but  Marti's  company  made 
all  lesser  lights  dim,  and  now  that  genuine  opera  was 
known  and  its  charm  felt,  all  farther  struggle  to  a  com 
petition  only  aggravated  damaging  contrast,  and  gave 
poignancy  to  regret  over  lost  attraction  by  severe 
pecuniary  inflictions  in  reminder  of  an  unpleasant  fact. 

Mr.  Johnson,  towards  the  close  of  the  Seguins5  en- 


440  RECORD    OF    THE    BOSTON    STAGE. 

gagement,  sold  out  his  interest,  and  it  is  a  little  singular 
that  the  notes  received,  while  in  possession  of  a  third 
party,  were  stolen  on  the  re-opening  of  the  new  Athe 
naeum,  from  the  pocket,  and  a  law  suit  in  consequence 
resulted  in  both  parties  being  allowed  to  pay  their  own 
costs,  and  retire  in  disgust. 

John  Brougham  played  a  brief  engagement,  when 
the  benefits  of  the  members  of  the  stock  commenced. 
The  name  of  A.  J.  Phillips,  one  of  the  members,  was 
up  for  a  benefit  on  the  evening  of  February  25,  1846, 
and  "  Pizarro "  was  performed,  the  part  of  Rolla  by 
John  Sheridan,  the  well-known  professor  of  the  art  of 
self-defence,  who  volunteered  for  the  occasion.  The 
performances  closed  without  any  incident  worthy  of 
note,  and  the  building  had  been  vacated  about  twenty 
minutes,  when  a  fire  broke  out  in  the  rear  of  the  stage, 
and  so  combustible  was  the  tenement,  that  in  less  than 
ten  minutes  it  was  enveloped  in  flames,  and  in  half  an 
hour,  scenery,  wardrobe,  properties,  every  thing  was 
consumed. 

The  property  had  just  previous  to  this  been  purchased 
of  Dr.  Walker,  in  the  name  of  Ford  &  Brayley,  and 
the  former  had,  previous  to  the  closing  of  the  theatre, 
'visited  every  part  and  left  all  apparently  safe.  The 
•cause  of  the  fire  was  never  satisfactorily  known,  but 
we  remember  while  looking  at  the  ruins  the  following 
morning,  to  have  heard  one  of  the  supernumeraries 
observe  to  another,  that  say  what  they  might,  about  its 
being  the  work  of  an  incendiary,  he  believed  that  if  it 
had  n't  have  been  for  that  fire  from  heaven  in  "  Pizarro," 
.the  place  would  still  be  standing.  It  is  possible  that  a 
spark  may  have  concealed  itself  in  the  scenery,  which 


RECORD    OF    THE    BOSTON    STAGE.  441 

afterwards  burst  out  into  a  flame.  The  actors  lost  their 
wardrobes,  which  were  suddenly  discovered  to  be  of 
very  great  value ;  but  their  losses  were  made  good,  by 
benefits  given  subsequently  at  the  Melodeon  and  else 
where.  The  orchestra  lost  their  instruments,  and  a  con 
cert  for  their  relief  was  given  by  the  Boston  Academy 
of  Music. 

The  fire  communicated  to  the  stable  of  Mr.'  Read,  in 
the  rear,  and  to  the  houses  of  Dr.  Jackson  and  Mr. 
Peabody  on  Somerset  Street,  all  of  which  sustained 
damage,  arid  but  for  the  activity  of  the  firemen,  must 
have  fallen  in  the  flames. 


CHAPTER   XXXIII. 

The  Howard  Athenaeum.  —  Opening  Night.  — Introduction  of  William 
Warren.  —  Blangy.  —  The  Viennoise  Children.  —  Marti' s  celebrated 
Havana  Opera  Company.  —  Tedesco.  —  Incident  in  her  Life.  — 
Signor  Perelli,  etc.  etc. 

AFTER  the  destruction  of  the  Tabernacle  by  fire,  the 
land  remained  unimproved  for  some  time,  various  pro 
jects  being  agitated.  The  want  of  a  first-class  theatre 
was  talked  of,  but  capitalists  had  learned,  from  past 
experience,  that  if  one  was  to  be  built,  it  must  be  on  a 
larger  scale  than  the  dimensions  of  the  lot  would  allow. 
Messrs.  Boyd  &  Beard,  however,  required  at  that  time 
a  central  and  spacious  depot  for  the  manufacture  and 


442  RECORD    OF    THE    BOSTON    STAGE. 

sale  of  their  beers,  ales,  and  mineral  water,  and  with 
the  assistance  of  others,  the  land  was  purchased,  and  it 
was  determined  to  build  a  theatre,  Messrs.  Boyd  & 
Beard  reserving  the  basement  as  a  manufactory. 

On  the  4th  of  July,  1846,  the  corner  stone  of  the 
present  Howard  Athenaeum  was  laid,  on  which  occasion 
Hon.  I.  H.  Wright  delivered  a  short  address,  and  a 
collation  was  partaken  of  at  the  Pemberton  House. 
Isaiah  Rogers,  Esq.,  was  the  architect,  and  the  front  of 
granite  was  erected  by  Messrs.  Standish  &  Woodbury 
in  thirty-two  days  after  the  corner-stone  was  laid,  and 
on  the  5th  of  October  the  interior  was  sufficiently  ad 
vanced  to  permit  its  opening,  under  the  direction  of 
James  H.  Hackett  &  Co.,  and  the  stage  management  of 
W.  H.  Chippendale.  The  performances  on  the  open 
ing  night  brought  to  the  footlights  the  entire  strength 
of  the  company,  consisting  of  an  Opening  Address, 
delivered  by  George  Vandenhoff,  the  "  Rivals,"  with 
the  following  effective  support :  — 

Sir  Anthony  Absolute,        ....  Mr.  Chippendale. 

Captain  Absolute,  ....  Mr.  J.  H.  Hall. 

Sir  Lucius  0' Trigger,         ....  Mr.  Wm.  Warren. 

Bob  Acres, Mr.  Crisp. 

Falkland,  Mr.  Ayling. 

Fag,         .......  Mr.  Bradshaw. 

David, Mr.  Saunders. 

Lydia  Languish,          ....  Miss  Mary  Taylor. 

Julia.        .......        Miss  Maywood. 

Mrs.  Malaprop, Mrs.  Maywood. 

Lucy,        ......  Miss  Hildreth. 

Maid,  Mrs.  Stone. 

This  was  followed  by  the  musical  burletta  of  the 
"Chaste  Salute:"— 


KECORD    OF    THE    BOSTON    STAGE.  443 

Darville, Mr.  H.  Hunt. 

Thibaut, Mr.  Chippendale. 

Philippe,  Mr.  Saunders. 

Baroness, Mrs.  Maywood. 

Madame  Thibaut, Miss  M.  Taylor. 

Sophia, Miss  Phillips. 

The  prices  of  admission  were,  parquette  boxes,  $1 ; 
parquette  and  dress  circle,  75  cents  ;  boxes,  50  cents  ; 
second  circle,  25  cents.  These  prices  were  subsequently 
changed,  and  the  tariff  now  used  adopted. 

It  was  on  this  occasion  that  Mr.  William  Warren, 
now  of  the  Boston  Museum,  first  made  his  appearance 
in  this  city,  as  Sir  Lucius  #'  Trigger.  No  actor  ever 
won  the  approbation  of  a  Boston  audience  more  rapidly 
than  Mr.  Warren,  and  no  actor  is  held  in  higher  estima 
tion  at  the  present  day  than  he.  The  season  continued 
until  the  27th  of  February,  and  was  marked  by  the 
appearance  of  Md'lle  Blangy,  (who  brought  out  "  La 
Giselle  "  in  good  style,  assisted  by  Mons.  Hazard,)  Mrs. 
Mo  watt,  Davenport,  Madame  Augusta,  Mr.  Collins,  the 
Irish  comedian,  Camilla  Sivori,  Booth,  and  Ciocca. 
"  Guy  Mannering  "  was  brought  out  in  December  with 
fine  effect.  Abel  Sampson,  Chippendale  ;  Dandie  Din- 
mont,  Warren  ;  Julia  Mannering,  Miss  Mary  Taylor ; 
Lucy  Bertram,  Miss  Phillips,  now  Mrs.  Conover ;  Meg 
Merrilies,  Mrs.  Crisp.  Hackett  appeared,  and  George 
Vandenhoff  introduced  a  recitation  of  Collins'  Ode  to 
the  Passions,  with  orchestral  accompaniment,  which 
was  very  effective.  The  crowning  achievement  of  the 
season,  however,  was  the  visit  of  the  Viennoise  Dancers, 
who  made  their  first  appearance  on  the  llth  of  January, 
1847,  and  continued  till  the  close,  filling  the  treasury 
beyond  any  attraction  since  offered. 


444  RECORD    OF    THE    BOSTON    STAGE. 

Mr.  Hackett  left  with  the  Viennoise  Children,  and 
the  theatre  passed  into  the  hands  of  his  partner,  Thos. 
Ford,  who  leased  it  for  a  brief  season  to  Sands,  Lent  & 
Co.,  for  circus  performances,  who  were  succeeded  on 
the  23d  of  April,  1847,  by  the  opera  company. 

It  was  on  this  occasion  that  Boston  first  recognized 
genuine  Italian  Opera  in  the  performance  of  Verdi's 
"Ernani,"  by  a  complete,  fully  organized  company, 
known  to  fame  as  the  Havana  Opera  Troupe,  formed 
by  Marti,  purveyor  of  fish,  and  proprietor  of  the  great 
Tacon  Theatre. 

A  superb  orchestra  led  by  Arditi  and  the  superlative 
contrabassist  Botesini,  with  a  good  chorus  and  principals 
of  extraordinary  merit,  presented  Verdi's  best  opera  in 
a  style  that  absolutely  electrified  the  audience.  All  the 
recollections  of  English  opera  were  effaced  by  this  life- 
breathing,  passionate,  and  effective  performance,  and 
from  that  hour  a  new  ideal  of  excellence  in  operatic 
affairs  became  fixed  and  irrevocable.  Such  a  combina 
tion  of  brilliancy,  effect,  and  vigor,  with  the  sentimental 
and  tender,  had  never  before  revealed  itself  upon  the 
Boston  lyric  stage,  and  the  excitement  produced  by 
this  new  sensation  was  commensurate  with  the  marvels 
that  produced  it. 

The  opera  itself  was  interesting  from  a  wild  and 
romantic  plot,  worked  up  in  a  good  libretto,  and  that 
innate  beauty  had  been  most  effectively  treated  by  the 
composer. 

So  masterly  was  the  orchestration  and  the  introduc 
tion  of  novel,  yet  most  pleasing  combinations,  modula 
tions,  and  octaves,  with  an  exquisite  skill  in  use  of  solo 
talent  in  aid  of  a  masterly  conceived  partition,  that, 


RECORD    OF    THE    BOSTON    STAGE.  445 

strong  as  prejudice  had  been  against  its  composer,  this 
opera  instantly  commanded  admiration,  disarmed  pre 
judice,  and  gave  Verdi  universal  popularity. 

In  this  debut  of  a  new  composer  and  first  hearing  of 
Italian  Opera,  all  the  essentials  to  a  great  success  were 
found,  and  it  would  be  difficult  to  decide  whether  Verdi, 
the  orchestra  and  chorus,  or  the  principal  singers,  re 
ceived  the  majority  of  votes  from  a  public  well-nigh 
frenzied  Avith  delight. 

The  remarkable  personal  beauty  of  Tedesco,  and  her 
rich,  voluptuous,  and  easily  produced  volume  of  voice, 
probably  excited  more  enthusiasm  than  any  other  item 
of  this  grand  tableau.  That  vocalist,  strange  as  it  might 
seem  to  American  gallantry,  commenced  her  operatic 
career  with  a  terrible  experience  of  Italian  rudeness. 
Her  father  being  of  that  hated  race  who  hold  Lombardy 
in  bitter  subjection,  the  fair  debutante  found  the  audi 
ence  of  La  Scala  quite  willing  to  make  her  the  scape 
goat  for  an  unpopular  composer,  and  hissed,  brayed, 
and  hooted  at  Fortunata  for  a  mortal  hour,  on  the  night 
of  her  debut  in  "  Saul."  The  agent  of  Marti,  on  the 
qui  vive  for  novelty,  engaged  and  shipped  to  Havana 
the  rejected  of  Milan,  with  confident  expectation  that 
she  would  attract  the  gallant  Habanese  in  crowds  to 
Marti's  operatic  temple.  She  did  move  Havana  as  if 
by  the  lever  of  Archimedes,  her  person  and  voice  both 
possessing  a  potent  spell.  Her  benefit  realized  $8,000, 
and  ingenuity  was  tasked  for  new  floral  or  poetic  honors 
to  such  a  ravishing  prima  donna. 

Boston  scarcely  equalled  Havana  in  those  respects, 
but  the  delicious  quality  of  her  voice,  its  graceful  pro 
duction,  and  the  flood  of  melody  she  could  pour  out  in 


446       RECORD  OF  THE  BOSTON  STAGE. 

all  the  ease  and  freedom  of  a  mocking-bird,  overcame 
even  Puritan  reserve.  The  admiration  she  excited  on 
her  first  appearance  was  intense,  and  not  until  a  trifling 
unladylike  deportment  became  a  habit,  did  the  hold 
upon  a  Boston  public  then  acquired  lose  its  power,  and 
finally  become  aversion. 

The  character  of  Ernani  was  sustained  by  a  tenor 
not  then  celebrated,  but  his  pure,  flexible,  and  expres 
sive  voice  made  Perelli  famous  after  the  first  proof 
that  he  possessed  in  rare  abundance  perfection  of  voice, 
style,  and  method. 

His  unisons  with  the  soprano  were  exquisite,  and  in 
the  duet,  "  Ah  !  morirr,"  enchantment  held  the  audience 
breathless  in  delight.  The  wonderful  unison  finale, 
"  O  !  Carlo  Magno,"  brought  Tedesco  and  Perelli  fully 
out  in  their  clear  and  pure  sustenance  of  the  climax, 
giving  a  zest  and  charm  to  its  full,  rich  harmony,  which 
never  failed  to  excite  a  furore.  Novelli  and  Vita,  the 
basso  and  baritone,  were  also  excellent,  giving  a  full 
support  to  all  the  concerted  pieces  in  which  they  par 
ticipated,  and  in  solo  their  good  quality  of  tone,  purity 
of  intonation,  and  finished  school,  were  remarked  with 
satisfaction.  The  vocalization  of  Tedesco,  Perelli,  No 
velli,  and  Vita,  left  no  room  for  any  other  feeling  than 
delighted  admiration,  the  natural  beauty  of  voice  and 
finished  elegance  of  a  good  school,  with  true  Italian 
warmth,  appearing  in  graceful  perfection.  They  were 
not,  however,  actors,  or  competent  to  a  faithful  imper 
sonation  of  character,  and  but  very  few  vocalists  ever 
pretend  to  be.  In  the  blaze  of  enthusiasm,  and  nearly 
frantic  delight  that "  Ernani "  awakened  here,  this  defect 
had  but  slight  consideration,  and  the  run  then  com- 


RECORD    OF    THE    BOSTON    STAGE.  447 

menced  bar"),  with  occasional  relapses,  a  continuance  until 
June  Gth,  when  the  first  season  closed  with  a  perform 
ance  of  "  Moses  in  Egypt,"  at  the  Melodeon,  before  the 
largest  audience  ever  assembled  there,  1637  tickets 
being  taken.  In  this  long  interval  several  phases  of 
popular  feeling  were  observed,  as  the  opera  and  prin 
cipal  singers  chanced  to  be  more  or  less  attractive. 
"  Linda  di  Chamouni "  introduced  Caranti  Vita,  a  pure 
soprano  of  little  timbre  and  unpleasantly  tremulous, 
but  endowed  with  a  most  prepossessing  person.  It  did 
not  take  well,  and  gave  place  to  Pacini's  "  Saifo,"  which, 
by  the  popularity  of  Tedesco  and  the  lovely  contralto 
of  Sofie  Marini,  convulsed  the  city  as  "  Ernani "  had 
done.  The  duet  for  soprano  and  contralto  is  charming 
in  itself,  but  given  as  they  gave  it,  with  a  perfect  blend 
ing  and  fusion  of  voice  and  soul,  few  could  resist  the 
potent  spell.  "I  due  Foscari"  was  brought  forward 
next  for  Rainieri,  a  soprano  sfogato  of  exquisite  finish 
and  smoothness  in  execution.  She  had  a  gratifying 
reception,  and  her  vocalization  excited  applause  in 
almost  Tedescan  abundance.  The  opera  was,  however, 
too  horrible,  and  the  music  too  sombre,  for  general 
audiences,  so  it  failed  of  sensation.  "  Romeo  and  Juliet," 
as  the  operatic  version  of  two  composers,  next  attracted 
crowds,  the  fair  Tedesco  appearing  in  martial  dress,  with 
a  preposterous  long  tunic  and  sword  of  immense  length, 
to  fulminate  "  La  tremenda  ultrice  spade,"  and  make 
love  to  gentle  Juliet  in  the  person  of  Caranti  Vita.  The 
representative  of  Romeo  was  evidently  hampered  with 
her  virile  habiliments,  and  obtained  less  favor  than  in 
either  of  her  two  preceding  operas.  In  the  bravura 
and  duet  with  Caranti,  she  gained  hearty  applause. 


448  RECORD    OF    THE    BOSTON    STAGE. 

The  admirers  of  Caranti  now  took  courage  as  she 
gained  confidence  and  developed  the  beauty  of  a  fine 
soprano,  and  even  ventured  to  question  the  supremacy 
of  Tedesco. 

Great  things  had  been  said  of  the  primo  tenore  in 
advance  of  his  debut,  and  extravagant  anticipations 
formed.  When  Severi  appeared,  however,  it  was  evi 
dent  that  his  voice  was  nearly  gone,  and  though  he  got, 
by  spasmodic  and  fitful  effort,  a  chance  note  or  two 
fraught  with  expression  and  good  tune,  he  never  could 
sustain  the  high  rank  of  first  tenor  in  such  a  company. 
He  made  a  hit  in  the  death  scene  of  "  I  Lombardi,"  but 
Perelli's  throne  remained  unshaken,  and  the  masses 
paid  him  allegiance. 

Rossini's  great  opera,  "  Moses  in  Egypt,"  was  per 
formed  first  as  a  concert,  and  with  immense  effect  upon 
a  crowded  house,  as  the  choral  execution  surpassed  all 
ideas  of  excellence  suggested  by  our  sacred  music 
associations.  Tedesco  and  Perelli  were  enchanting  in 
their  soul-fraught  and  voice-blending  duet,  and  Rainieri 
gave  the  queen's  solo,  "  Ah,  d'  un  amita,"  with  such 
perfection  as  to  eclipse  any  previous  union  here  of 
perfect  execution  with  feeling  and  expression  of  the 
deepest  emotion. 

"  Norma,"  with  Tedesco  and  Rainieri,  revived  the 
furore,  and  raised  premiums  to  a  high  pitch,  the  receipts 
on  each  night  of  its  performance  exceeding  $1,300. 

The  auctioneer  was  early  invoked  to  aid  in  distribut 
ing  chances  for  the  rich  musical  lottery,  presented  by 
the  Havana  company,  and  premiums  frequently  ran  to 
a  ridiculous  excess.  Parquette  seats  in  the  "  Ernani" 
soon  went  up  to  $1.50  and  $1.75  advance  on  the  original 


RECORD    OF    THE    BOSTON    STAGE.  449 

50  cents;  and  in  some  other  instances,  when  Tedesco 
appeared,  the  seats  commanded  $4  to  $5  premium. 
Two  great  public  houses  were  then  intrusted  with  or 
ders  for  boxes  and  seats,  and  their  competition  in  trade 
gave  an  impetus  to  the  bidding.  The  concerts  given 
on  Saturday  nights  were  not  fully  attended,  custom 
indicating  the  Melodeon  or  Tremont  Temple  for  such 
performances.  Botesini,  however,  astonished  the  musi 
cians  by  his  converting  a  three  stringed  double  bass 
into  a  violin,  and  the  prodigies  of  execution  he  brought 
from  an  instrument  so  unwieldy  to  others.  In  the 
orchestra  he  bore  up  and  sustained  the  whole  mass  of 
harmony,  and  proved  himself  a  match  for  any  four 
players  in  the  body  of  tone  and  effect  produced;  but  in 
the  exhibition  of  his  solo  talent,  those  who  marvelled  at 
his  orchestral  exploits,  were  obliged  to  confess  Paganini 
had  one  equal. 

The  pecuniary  result  of  this  first  season  was  a  net 
profit  of  $12,000,  and  the  honors  paid  to  Fortunate 
Tedesco  attained  their  greatest  excess  in  the  casting  at 
her  feet  of  a  warm  admirer's  hat  and  cane,  in  token  of 
his  own  entire  prostration. 

This  company  returned  in  September,  but  their  re 
ception  lacked  much  of  the  warmth  and  intensity  so 
remarkable  in  the  first  visit. 

Novelty  no  longer  attracted  the  curious  and  those 
eager  for  a  new  sensation,  while  the  confidence  of  con 
trol  over  their  audience  betrayed  the  singers  into  levity 
and  indifferent  treatment  of  the  music  intrusted  to  them, 
29 


450  RECORD    OF    THE    BOSTON    STAGE. 


CHAPTER    XXXIV. 

'Continuation  of  the  Howard  Athenreum.  —  Madame  Anna  Bishop.  — 
Elize  Biscaccianti.  —  Truffi.  —  Fancy  Balls.  —  W.  C.  Macready.  — 
Maurice  Power.  —  Bateman  Children.  —  Charles  E.  Thorne.  —  Jean 
Margaret  Davenport.  —  H.  W.  Finn.  —  Operas.  —  Baker  &  English. 
C.  D.  Pitt.  —  Mrs.  Mowatt.  —  Forrest.  —  Miss  Laura  Addison.  — 
Mrs.  Warner.  —  Madame  Thillon.  —  Lola  Montes.  —  The  Season  of 
1852-3.  —  Henry  Willard.  —  Miss  Fitzpatrick.  —  Alboni.  —  Sontag, 
etc.  etc. 

Ox  the  8th  of  June,  1847,  the  Howard  Athenseum 
was  re-opened  for  a  short  season  by  Thomas  Ford,  W. 
L.  Ayling  as  stage-manager.  Mr.  George  H.  Andrews 
and  Mrs.  Abbott,  with  Blangy  and  Vallee,  appeared, 
and  in  July  the  Ravels  came. 

The  season  of  1847-8  commenced  August  16th,  with 
Mr.  Ford  as  lessee,  W.  H.  Chippendale  acting  manager, 
and  W.  L.  Ayling  as  stage-manager.  Several  new  faces 
appeared  among  the  stock,  but  none  who  proved  perma 
nent  favorites.  The  stars  consisted  of  Mr.  Harvey  Tuck- 
ett,  who  appeared  as  Don  Ccesar  de  Bazan,  Falstaff, 
etc. ;  Madame  Anna  Bishop,  Booth,  Ciocca,  Italian  Op 
era  Company  in  September ;  Anderson,  who  was  sup 
ported  by  Mrs.  George  Jones,  and  appeared  in  "  Lady 
of  Lyons,"  "  King  of  the  Commons,"  etc. ;  Mrs.  Mowatt 
and  Davenport,  just  prior  to  her  departure  for  Europe ; 
Seguin  Operatic  Troupe,  Dan  Marble  and  Professor 
Risley  &  Sons,  Rice,  H.  P.  Grattan,  the  Monplaisers, 
Signora  Biscaccianti,  the  Heron  Family,  and  the  Be- 
%  douin  Arabs. 

Madame  Bishop  made  her  first  appearance  in  Opera 


RECORD  OF  THE  BOSTON  STAGE.       451 

before  a  Boston  audience  August  26,  1847,  at  this 
house,  in  scenes  from  Balfe's  "  Maid  of  Artois,"  and 
followed  up  that  success  by  scenes  from  "  The  Barber 
of  Seville,"  "  Linda  of  Chamounix,"  "  Tancredi,"  "  La 
Sonnambula,"  "  The  Love  Spell,"  and  "Anna  Bolena." 

Her  greatest  success  then  was  undoubtedly  in  the 
recitative  and  aria  from  "  Tancredi,"  which,  in  her 
noble  bearing,  heroic  stage  presence,  and  superb  deliv 
ery  of  either  recitation  or  air,  commanded  universal 
admiration.  Such  breadth  and  freedom  of  phrasing 
and  perfection  of  recitative  was  a  rarity,  and  the  liquid 
flow  of  melody  in  the  song  charmed  every  cultivated 
ear.  In  the  death  scene  of  "  Anna  Bolena,"  this  ver 
satile  vocalist  and  finished  actress  found  ample  response 
to  her  fidelity  of  presentment  and  the  chaste  style  which 
pervaded  the  performance.  In  the  rondo  finale  of  "  La 
Sonnambula,"  her  brilliant  execution  almost  overcame 
the  embarrassment  of  voice,  extremely  limited  in  com 
pass,  and  caused  many  regrets  that  nature  had  not 
been  more  generous  to  one  so  able  to  make  good 
use  of  her  vocal  and  personal  gifts.  The  familiar 
"  Una  voce  "  was  made  by  her  to  assume  fresh  interest 
by  rapid  execution  in  staccato,  which  rivalled  the  best 
violin  player's  utmost  facility  in  that  difficult  trait. 

No  woman  has  ever  been  able  to  personate  heroes  of 
the  Othello  and  Tancredi  stamp  with  that  absolute  em 
bodiment  Madame  Bishop  invariably  presented.  Form, 
gait,  and  action  were  assimilated  to  the  character  repre 
sented.  Coming  so  close  upon  the  Havana  Opera 
company,  her  audiences  were  not  large,  though  highly 
appreciative  and  enthusiastic. 

At  a  subsequent  period  she  appeared  in  costume  at 


452  RECORD    OF    THE    BOSTON    STAGE. 

the  Melodeon  and  Tremont  Temple,  exciting  both  won 
der  and  enthusiastic  applause  by  her  admirable  person 
ation  of  Othello  and  Desdemona,  on  the  same  evening, 
in  the  former  place,  and  the  freedom  of  a  Mexican 
girl's  manner  at  the  latter.  The  music  of  each  role 
was  presented  with  appropriate  style,  giving  her  em 
bodiments  of  characters  a  lifelike  semblance,  at  once 
rare  and  deeply  interesting. 

In  the  concert-room,  Madame  Bishop  proved  herself 
mistress  of  every  style,  and  the  most  remarkable  linguist 
that  has  yet  been  noticed  in  musical  annals.  Twenty 
different  tongues  were  by  her  married  to  music  with  a 
purity  and  grace  of  delivery  that  satisfied  the  most 
exacting  native. 

Like  the  song  which  gave  her  so  great  and  well- 
deserved  a  celebrity,  she  made  the  union  of  melody 
and  language  "  delightful  to  the  ravished  sense  ; "  and 
whether  it  were  Russian,  French,  or  Hottentot,  their 
roughness  became  smooth  and  liquid  flow  of  rhythm. 

In  the  English  opera  which  her  company  gave  at  the 
Boston  Theatre,  a  duet  between  Linda  and  her  lover 
as  given  by  Madame  Bishop  and  Reeves,  (a  brother  of 
Sims  Reeves,)  fairly  intoxicated  the  city  in  their  soft 
and  perfect  blending  of  voices,  to  make  English  at  once 
expressive  and  melodious. 

In  September,  1&47,  the  Havana  Opera  Company 
again  visited  Boston,  performing  for  a  short  time  at  the 
Howard,  and  then  removing  their  scene  of  dramatic 
concerts  to  Tremont  Temple.  Of  this  season  the  most 
taking  performance  was  "  Corrado  d'  Altamura,"  in 
which  Sofie  Marini  had  a  fine  part.  It  was  given  but 
once,  and  that  once  nearly  occasioned  at  rehearsal  a 


EECORD    OF    THE    BOSTON    STAGE.  453 

disrupture  of  the  company,  as  Tedesco,  jealous  of 
Marini,  insisted  upon  a  transposition  to  suit  her  own 
voice,  or  whim,  that  destroyed  the  effect  of  a  finale  and 
the  contralto's  great  point.  Signer  Villarino  found  it 
difficult  to  quell  Tedesco's  rage  at  being  refused  this 
concession,  and  for  a  time  confusion  worse  confounded 
hore  unrestricted  sway. 

In  the  Howard  Athenaeum  "  La  Sonnambula,"  with 
Caranti  Vita,  Perelli,  Rainieri,  in  the  principal  charac 
ters,  led  off,  followed  by  "  Norma,"  with  Severi,  Tedesco, 
and  Rainieri,  as  principals,  "  Ernani,"  with  its  original 
cast,  "  The  Barber  of  Seville,"  with  Tedesco,  Vita,  and 
Lormi,  were  presented  with  a  fair  ensemble  to  a  mod 
erate  audience.  Their  dramatic  concerts  were  failures 
in  almost  every  point  of  view.  The  public  resented 
Villarino's  economy  in  quitting  the  Howard,  and  thus 
depriving  them  of  genuine  opera. 

The  first  appearance  of  Elize  Ostinelli  upon  the 
Boston  stage  took  place  at  the  Howard  Athenaeum, 
January  5th,  1848,  "  La  Sonnambula"  being  the  opera, 
Vietti  the  Elvino,  and  Avignone  the  Rodolfo.  She  was 
extremely  agitated  during  the  whole  performance,  and, 
not  being  able  to  control  her  voice,  disappointed  expec 
tations  wrought  to  a  high  pitch  by  New  York  eulogiums. 
Nature  had  been  prodigal  in  gifts  of  voice,  but  a  slight 
and  extremely  nervous  frame  often  refused  to  sustain 
her  through  an  opera.  She  then  betrayed  an  impurity 
of  intonation  which,  in  contrast  with  the  Italian  vocalists 
so  recently  here,  chilled  enthusiasm,  and  required  all 
the  efforts  of  her  especial  friends  to  excuse  and  cover 
up  by  applause.  This  friendly  reception  as  the  Amer 
ican  prima  donna  and  Boston's  first  show  upon  the 


454  RECORD    OF   THE    BOSTON    STAGE. 

Italian  lyric  stage,  gave  her  confidence,  and  her  second 
appearance  was  a  genuine  triumph,  so  far  as  a  very 
petite  figure  could  be  converted  into  a  good  stage  pre 
sence  by  the  charm  of  a  fine  voice  under  good  control, 
and  its  capability  of  wonders  in  vocalization  as  exhibited 
in  the  rondo  finale.  After  "  La  Sonnambula  "  had  ex 
hausted  its  attraction,  she  appeared  in  "  Lucia  di  Lam- 
mermoor,"  with  great  success,  her  flexibility  and  beauty 
of  voice  having  free  scope  in  the  cavatina  and  rondo, 
and  her  union  of  good  acting  with  a  brilliancy  and  ease 
of  vocalization  rarely  equalled  in  the  mad  scene,  taking 
captive  even  the  most  exacting  dillettanti,  who  freshly 
remembered  Persiani  and  Jenny  Lind  in  that  char 
acter. 

She  accomplished  this  mastery  of  all  difficulties  with 
indifferent  support ;  and  not  until  the  last  night  of  the 
opera,  when  Benedetti  and  Beneventano  appeared  in 
aid,  was  her  full  display  of  extraordinary  vocal  and 
histrionic  powers  manifested  here.  A  furore  in  antici 
pation  of  a  great  performance,  and  Benedetti's  first  ap 
pearance,  raised  $400  of  premiums  from  the  sale  of 
tickets  for  that  night,  and  the  excitement  of  their 
audience  brought  out  an  enthusiasm  in  the  performers 
seldom  witnessed  upon  the  lyric  stage.  On  the  26th 
of  January,  a  truly  grand  complimentary  benefit  was 
given  her  by  a  public  so  enthusiastic  that  $760  were 
paid  in  premiums  for  the  choice  of  seats,  and  the  net 
proceeds  of  that  substantial  compliment  were  $1,600. 
Biscaccianti  was,  at  various  subsequent  periods,  highly 
successful  in  concerts  at  the  Melodeon  and  Tremont 
Temple,  with  Perelli  and  Henri  Herz.  She  then  visited 
Europe  for  improvement  of  style  and  method,  returning 


RECORD    OF    THE    BOSTON    STAGE.  4:55 

to  give  concerts  in  New  York  and  Boston.  Opera  at 
low  prices  had  then  destroyed  the  attraction  of  concerts,, 
and  she  went  to  California  to  achieve  great  concert 
success ;  after  that  she  visited  Lima  to  give  operatic 
performances. 

Sands,  Lent  &  Co.  again  took  the  theatre,  and  at  the 
expiration  of  their  season  a  series  of  masquerade  balls 
were  given,  which  reflected  any  thing  but  credit  upon 
this  temple  of  the  drama  !  In  May,  1848,  the  Astor 
Place  Opera  Company  leased  the  theatre,  and  on  the 
31st  of  May,  Signora  Truffi  made  her  first  appearance 
before  a  Boston  audience.  The  opera  was  "  Lucrezia 
Borgia,"  and  she  assumed  the  Dutchess,  Benedetti  being 
the  Genaro,  Rosi  the  Duke,  and  Signora  Lieti  Rossi  the 
Orsini.  Truffi  captivated  by  the  charms  of  an  elegant 
person,  a  graceful,  expressive  action,  and  a  rich,  well- 
managed  mezzo  soprano.  Benedetti's  then  glorious 
tenor  swept  away  the  remembrance  of  all  other  tenors. 
Rosi  made  a  good  Duke,  for  that  day  when  Badiali  was 
unknown ;  and  the  representative  of  Orsini  made  a 
great  hit.  Verdi's  "  Nabucco,"  with  Truffi,  Benedetti, 
Rosi,  and  Beneventano  followed,  but  produced  no 
sensation.  Truffi  excited  a  furore  by  her  Elvira, 
("  Ernani,")  but  Arnoldi  made  a  poor  hero,  and  Bene 
ventano  a  ridiculous  king.  In  Mercadante's  "  II  Guira- 
mento,"  a  great  triumph  was  obtained  by  Benedetti 
and  Truffi.  The  season  did  not  prove  lucrative,  and  to 
relieve  distressed  singers,  musicians,  etc.,  a  complimen 
tary  benefit  was  given  at  the  last  performance,  June  26, 
in  which  Truffi  appeared  in  Lucrezia,  with  Benedetti 
as  Genaro,  sang  the  cavatina  from  "  Ernani,"  in  which 
she  introduced  a  fine  trill,  and  with  Benedetti  gave  the 


456  RECORD    OF    THE    BOSTON    STAGE. 

last  act  of  "  II  Guiramento."  Truffi  retained  her  great 
popularity  here  until  after  she  became  Signora  Bene- 
detti,  when  her  voice  appeared  to  have  lost  its  remark 
able  purity  and  flexibility,  and  her  acting  had  become 
very  tame  and  indifferent. 

The  season  of  1848-9  was  commenced  under  Ford, 
and  during  his  reign  the  Viennoise  Children  and  the 
Moravian  Singers  appeared,  followed  by  the  Lehmann 
Family,  who  subsequently  joined  the  Ravels.  Miss 
Lehmann,  whose  death  was  caused  in  consequence  of 
her  dress  taking  fire,  while  performing  at  Niblo's,  was 
a  member  of  this  corps. 

In  the  latter  part  of  October,  Mr.  John  Brougham 
leased  the  theatre,  ostensibly  for  the  production  of  one 
of  his  own  pieces,  but  after  the  papers  were  signed,  Mr. 
Ford  discovered  that  Mr.  W.  E.  Burton  and  Mr. 
Brougham  had  secured  Mr.  Macready,  who,  under  the 
joint  management  of  the  two  B.'s,  made  his  re-appear 
ance,  on  the  evening  of  October  30th,  in  Macbeth,  sup 
ported  by  Mrs.  J.  Wallack.  This  engagement  was 
profitable  to  the  speculating  B.'s.  Mr.  Burton,  after 
Macready's  departure,  was  announced  to  appear,  but 
he  left  for  New  York,  without  fulfilling  his  intention. 
The  theatre  was,  for  the  remainder  of  the  season,  in 
Mr.  Ayling's  charge,  and  the  business  was  most  dis 
astrous.  Isabel  Dickson  appeared  —  J.  P.  Addams,  Mrs. 
Dinneford,  and  Maurice  Power,  son  of  Tyrone  Power, 
made  his  first  appearance  here  as  McShane,  in  the 
"  Nervous  Man."  He  was  a  gentleman,  but  no  actor. 

The  management  at  one  time  reduced  the  prices  to 
25  cents,  and  Addams  and  Locke  appeared.  Compli 
mentary  benefits  were  given  to  Robert  Hamilton  and 


RECORD    OF    THE    BOSTON    STAGE.  457 

to  George  E.  Campbell,  then  reporter  for  the  Times, 
now  a  judge  in  California,  who  wrote  a  local  play,  in 
which  a  scene  representing  the  interior  of  the  police 
court  was  introduced.  On  the  15th  of  January,  Madame 
Laborde  appeared  as  Lucia,  which  was  followed  by  the 
management  of  Mr.  Fry,  who  introduced  his  opera, 
which  proved  a  failure.  After  their  departure,  there 
was  a  temporary  revival  with  Blangy,  Durand,  Chip 
pendale,  Johnson,  Skerrett ;  and  in  June  the  Bateman 
Children,  since  celebrated  as  prodigies  by  their  success 
in  England,  under  Le  Grand  Smith,  Esq.,  made  their 
appearance,  and  the  Viennoise  Children  in  July  wound 
up  a  very  checkered  season. 

Mr.  Charles  R.  Thome  leased  the  theatre  and  opened 
it  on  the  27th  of  August,  for  the  season  1849-50.  Mr. 
E.  Eddy  was  stage-manager,  and  the  company  included 
Mr.  and  Mrs.  Thome,  Mrs.  Skerrett,  Miss  Wagstaff, 
Miss  Fanny  Wheeler,  Mrs.  Muzzy,  Miss  Mace,  Messrs. 
Eddy,  C.  "Webb,  G.  Jordan,  Skerrett,  Saunders,  Bel 
lamy,  Ward,  Watkins,  etc.,  etc.  ;  and  on  the  opening 
night  "  Macbeth  "  and  "  Perfection  "  were  performed. 
Between  the  plays,  Miss  Anna  Walters  (Mrs.  Jordan) 
made  her  first  appearance  in  Boston  as  a  danseuse,  and 
proved  a  very  pleasing  acquisition  to  the  theatre. 
During  the  season  Mr.  Hackett,  Mrs.  Mossop,  Collins, 
Chanfrau,  Mr.  Bass,  Hudson,  the  Seguin  Troupe,  with 
Rosa  Jaques  and  Mrs.  Farren,  appeared. 

The  season,  however,  in  addition  to  the  above  attrac 
tions,  was  marked  by  the  re-appearance  in  Boston  of 
Miss  Jean  Margaret  Davenport,  who,  on  the  15th  of 
October,  1849,  appeared  as  Julia  in  the  *'  Hunchback." 
She  had  left  our  shores,  a  prodigy  of  youthful  genius, 


458  RECORD    OF    THE    BOSTON    STAGE. 

a  mere  phenomenon,  who,  like  Burke  and  Batty,  Clara 
Fisher,  and  others,  it  was  anticipated  would  prove  a 
forced  plant,  whose  fragrance  had  been  exhausted  ere 
it  reached  its  growth.  They  who  judged  by  these  pre 
cedents  were  pleasantly  disappointed,  when  they  beheld 
in  Miss  Davenport  an  actress  of  no  ordinary  merit,  and 
her  success  was  brilliant.  She  played  a  brief  but 
e>  client  engagement,  won  many  friends,  and  returned 
in  the  following  December  to  renew  the  delight  of  all 
theatre-goers,  by  her  performance  of  the  Countess  in 
"  Love,"  a  part  which  she  played  to  overflowing  houses. 
She  was  supported  by  Mr.  Neaffie,  who,  as  ffuon,  gained 
deserved  applause. 

On  the  21st  of  January,  1850,  Mr.  H.  W.  Finn,  who 
had  made  his  debut  at  Providence  a  short  time  previ 
ous,  appeared  for  the  first  time  in  this  city  as  Dr.  Pan- 
gloss,  in  the  "  Heir  at  Law,"  and  subsequently  as  Billy 
Lackaday  in  "  Sweethearts  and  Wives,"  and  Mons. 
Jaques.  The  reputation  of  the  father,  the  inimitable 
comedian,  attracted  for  the  son  on  the  opening  night  a 
good  house,  and  for  a  tyro  he  acquitted  himself  remark 
ably  well.  His  best  performance  was  Mons.  Jaques. 
After  a  temporary  absence  from  the  stage,  Mr.  Finn 
resumed  his  professional  duties  in  California  in  1853. 
In  March,  Max  Maretzek  brought  his  Opera  Company 
here,  and  was  followed  in  May  by  the  troupe  compris 
ing  Badiali,  Marini,  Bosio,  Salvi,  etc.  The  Negro 
Opera  concluded  the  season,  and  Mr.  Thorne  retired 
from  the  management  of  the  Howard. 

The  dramatic  season  of  1850-1  at  the  Howard 
Athenaeum  was  commenced  by  Messrs.  Baker  &  Eng 
lish,  and  on  the  opening  night,  August  19,  1850,  "  The 


RECORD    OF   THE    BOSTON    STAGE.  459 

Rivals,  or  A  Trip  to  Bath,"  and  "  The  Three  Cuckoos/' 
were  perf  rmed.  Of  the  stock  company,  Mr.  and  Mrs. 
John  Gilbert,  Mr.  John  Brougham,  Mrs.  "W.  H.  Smith, 
were  the  most  prominent.  Mrs.  English,  Mrs.  H.  M. 
Stephens,  Mr.  Gr.  Arnold,  S.  Johnson,  Raymond,  and 
E.  Warden,  were  also  attached  to  the  theatre,  with 
Miss  Ince  as  danseuse.  Mr.  Brougham  brought  out 
his  comedy  of  "  Romance  and  Reality,"  and  the  prin 
cipal  star  engagements  were  those  of  Miss  Mary  Taylor, 
Miss  Charlotte  Cushman,  assisted  by  Neaffie  in  Septem 
ber,  Miss  Davenport,  supported  by  A.  W.  Fenno,  who 
on  the  25th  of  October,  brought  out  "  Adrienne  the 
Actress,"  and  on  the  4th  of  November  revived  Mr. 
Sargent's  play  of  "  Velasco."  On  a  second  engagement, 
Miss  Davtenport,  supported  by  Charles  D.  Pitt,  brought 
out  "  Charlotte  Corday,"  which  did  not  materially  add 
to  her  reputation  as  an  actress.  Blangy,  with  Durand, 
appeared  during  the  season. 

Mr.  C.  D.  Pitt  made  a  favorable  impression  in  this 
city,  and  his  acting  subsequently  at  the  Museum  was 
warmly  praised. 

Mr.  and  Mrs.  Thorne,  Mrs.  Hamblin,  (Mrs.  Shaw,) 
and  Wysenian  Marshall,  also  appeared.  Before  the 
close  of  the  regular  dramatic  season,  Mr.  Ayling  assum 
ed  the  management,  and  "  Alfred  Ellton,"  a  play  written 
by  a  clergyman,  was  produced,  and  early  in  May  the 
theatre  closed,  the  star  of  the  evening  refusing  to  appear 
unless  arrearages  were  paid.  A  circus  company  filled 
up  the  usual  dramatic  summer  vacation. 

The  season  of  1851-2,  under  the  management  of 
Wyseman  Marshall,  commenced  on  the  8th  of  Septem 
ber  with  "  Love's  Sacrifice."  The  preliminary  announce- 


460  RECORD    OF    THE    BOSTON    STAGE. 

merit  of  the  lessee  said  :  —  "  The  manager  hopes,  by  a 
straight-forward  course,  to  merit  the  patronage  and 
approbation  of  all  lovers  of  the  legitimate  drama."  It 
was  late  in  the  season  when  Mr.  Marshall  concluded  to 
take  the  theatre,  and  it  was  difficult  to  procure  a  very 
strong  stock  company,  but  he  secured  the  services  of 
Mrs.  Melinda  Jones,  Mr.  and  Mrs.  Sloane,  Mrs.  Cra 
mer,  Miss  Cramer,  (now  Mrs.  Neagle,)  Meeker,  Ham- 
blin,  Mrs.  Groves,  Whitman,  Brand,  and  subsequently 
Mrs.  W.  H.  Smith  and  W.  F.  Johnson.  On  the  second 
night,  September  9th,  Mrs.  Mo  watt  made  her  re-appear 
ance,  for  the  first  time  after  her  European  tour,  as 
Julianna,  in  the  "  Honey  Moon."  She  was  most  cor 
dially  received,  and  her  engagement,  which  continued 
through  the  "  Three  Days'  Jubilee,"  proved  eminently 
successful.  She  was  succeeded  by  Baron  Hackett,  and 
on  the  13th  of  October  Miss  Davenport  brought  out 
O.  C.  Wyman,  Esq.'s  translation  of  "  Valeria."  The 
translation  did  full  justice  to  the  original,  and  improved 
it  in  many  particulars,  but  the  play  had  not  the  merit 
requisite  for  a  successful  piece.  The  Seguins  and  Julia 
Turnbull  next  essayed  to  attract  the  public,  with  a  fair 
result,  but  the  theatrical  firmament  was  looking  hazy, 
when  Mr.  Edwin  Forrest  re-appeared,  after  an  absence 
of  several  years,  on  the  3d  of  November.  His  engage 
ment  brought  more  money  into  the  house,  length  of 
time  considered,  than  any  other  of  the  season. 

The  next  star  was  Miss  Laura  Addison.  Her  father, 
Mr.  Wilmhurst,  was  a  tradesman  in  Colchester,  Eng 
land,  where  Miss  Addison  was  born,  in  November, 
1822.  She  made  her  debut  at  Norwich,  England,  in 
1842,  as  JBlvira  in  "  Pizarro,"  and  first  appeared  on 


RECORD    OF    THE    BOSTON    STAGE.  461 

the  London  boards  at  Saddler's  Wells  in  1847,  and 
remained  for  some  years  a  popular  member  of  the  ex 
cellent  histrionic  company.  She  subsequently  perform 
ed  with  success  at  the  Haymarket  and  at  Drury  Lane, 
and  made  her  first  appearance  in  America  at  the  Broad 
way  Theatre,  New  York,  and  then  visited  Boston.  Her 
success  here  was  not  what  she  anticipated,  and  her 
visit  to  this  country  did  not  create  that  sensation  which 
many  anticipated,  who  knew  of  her  popularity  in  Lon 
don.  In  August,  Miss  Addison  visited  Niagara  Falls, 
and  while  returning  to  New  York  from  Albany  she 
died,  after  a  few  days'  illness,  on  board  the  steamboat 
Oregon,  Sept.  2,  1852,  of  congestion  of  the  brain. 

Mrs.  Warner,  the  celebrated  English  actress,  now 
somewhat  advanced  in  years,  appeared  in  November, 
and  during  her  engagement  performed  Mrs.  Beverley, 
Lady  Macbeth,  Julia,  Mrs.  Holler,  Queen  Katharine, 
aiid  Hermione  in  the  "  Winter's  Tale."  Her  Lady  Mac 
beth  was  excellent,  but  her  great  hit  was  in  Hermione, 
in  the  statue  scene,  which  will  long  remain  indelibly 
fixed  on  the  minds  of  those  who  witnessed  it,  as  a  fine 
artistical  bit  of  stage  effect. 

Madame  Thillon  and  Mr.  Hudson  appeared  in  De 
cember,  and  did  an  immense  business  with  the  "  Crown 
Diamonds."  The  lady  was  indebted  for  her  success 
mainly  to  a  pretty  face,  which  attracted  the  admirers  of 
personal  beauty,  more  than  to  her  vocal  powers,  which 
were  limited  and  of  no  very  high  order.  On  one  night 
of  her  engagement,  the  tickets  and  premiums  amounted 
to  $1,400.  During  Madame  Thillon's  engagement,  Mr. 
George  Barrett  and  his  daughter,  Miss  Georgianna 


462  RECORD    OF    THE    BOSTON    STAGE. 

Barrett,  now  Mrs.  Philip  Warren,  appeared  on  the 
off-nights.  Mr.  McKean  Buchanan  also  played  a  short 
engagement.  On  the  14th  of  February,  Mrs.  Mowatt 
commenced  her  second  engagement,  closing  on  the  12th 
of  March.  She  made  a  great  hit  in  Parthenia  to  Mar 
shall's  Ingomar,  and  after  her  recovery  from  the  effects 
of  an  accident  received  by  being  thrown  from  her  horse, 
she  received  a  complimentary  benefit,  tendered  to  her 
by  his  honor  Mayor  Seaver,  Robert  G.  Shaw,  Esq.,  and 
others. 

Lola  Montes  succeeded  Mrs.  Mowatt.  Her  appear 
ance  on  the  stage,  as  a  danseuse,  was  a  mockery  of 
that  art  which  has  been  cultivated  by  Taglioni,  Cerito, 
Elssler,  and  Grisi,  while  her  attempts  at  acting  have 
rendered  her  ludicrous  in  the  extreme.  Miss  Daven 
port  commenced  a  farewell  engagement,  prior  to  her 
return  to  England,  on  the  5th  of  April,  and  attracted 
large  audiences.  Mr.  John  Brougham  subsequently 
appeared,  and  during  his  engagement  Mr.  Rice's  most 
excellent  travestie  of  Hamlet  was  brought  out.  Mrs. 
Pelby  played  one  night  for  her  daughter's  benefit,  and 
in  June  Mr.  Marshall  let  the  house  to  the  Ravel  Family, 
who  did  a  fair  business. 

The  season  was  one  of  the  very  few  at  this  house 
that  have  proved  remunerative  to  the  manager.  Mr. 
Marshall  was  fortunate  in  obtaining  a  succession  of 
"stars,"  and  with  a  very  meagre  company,  and  an 
economical  system,  he  arrived  at  the  termination  of  the 
season  with  a  surplus  of  some  $10,000.  The  house,  he 
was  well  aware,  was  not  sufficiently  capacious  to  warrant 
any  very  heavy  expenses ;  and  though  he  was  some- 


RECORD    OF    THE    BOSTON    STAGE.  463 

times  severely  handled,  lie  adopted  the  only  course, 
that  of  silence,  and  proved  himself  the  winner  in  the 
end. 

The  season  of  1852-3  was  commenced  on  the  31st  of 
August,  1852,  by  Henry  Willard,  as  "lessee  and  sole 
manager."  Mr.  Anderson,  the  "  Wizard  of  the  North," 
gave  his  exhibition  there  for  a  short  time,  and  having 
closed  on  Friday  evening,  the  17th  of  September,  Mr. 
Willard  announced  the  opening  of  the  theatre  for  the 
dramatic  season  on  the  20th,  and  it  was  duly  opened, 
with  the  notorious  Lola  Montes.  The  interior  had  been 
entirely  repainted  and  improved.  To  give  the  interior 
a  drawing-room  appearance,  Mr.  Willard  displayed  on 
the  walls,  in  the  rear  of  the  private  boxes,  a  number  of 
prints,  beautifully  framed,  representing  the  removal  of 
the  remains  of  the  great  Napoleon  from  St.  Helena  and 
the  interment  at  the  Hospital  of  the  Invalides  at  Paris. 
This  selection  of  subjects  looked  ominous  of  the  future, 
and  has  proved  so,  for  the  Athenaeum  under  Mr.  Wil- 
lard's  management  has  worn  a  funeral  aspect.  In  fact, 
it  required  very  little  imagination  at  times  to  fancy 
Thespis  and  Melpomene  weeping  over  the  tomb  of 
the  legitimate  drama,  and  sighing  to  see  actors  devoid 
of  talent,  and  actresses  whose  voices  denoted  speedy 
dissolution  of  body  and  soul,  impersonating  the  heroes 
and  heroines  of  Shakspeare,  and  of  Bulwer,  Knowles, 
and  other  leading  dramatists  Miss  Kimberly,  Madame 
Thillon,  Mr.  Hudson,  Mrs.  Warner,  and  the  Rousset 
family,  appeared  in  succession,  and  did  indifferently 
well. 

On  t1  e  3d  of  January,  Mrs.  Anna  Cora  Mo  watt  com 
menced  an  engagement,  opening  as  Parthenia,  a  char- 


464  RECORD    OF    THE    BOSTON    STAGE. 

acter  in  which  she  has  no  equal,  and  during  her  engage 
ment  she  attracted  very  excellent  houses.  Mrs.  Sinclair 
was  announced  to  appear,  but  did  not  make  her  appear 
ance  in  Boston,  but  sent  on  a  plea  of  illness,  from  which 
she  recovered  in  a  very  short  time.  Mr.  Forrest  was 
at  that  time  performing  at  the  National.  Miss  Kim- 
berly  played  another  brief  engagement,  and  the  first 
portion  of  the  dramatic  season  was  brought  to  a  close 
in  January,  when  Le  Grand  Smith  leased  the  theatre, 
and  brought  out  the  opera  troupe,  of  which  Marietta 
Alboni  was  the  prima  donna.  The  pieces  produced 
were  "  Cenerentola,"  "  La  Figlia  del  Regimento,"  "  La 
Sonnambula,"  "  Norma,"  "II  Barbieri  de  Seviglie." 
Nine  performances  were  given  by  the  opera  company, 
Messrs.  Cony  and  Taylor,  with  their  dogs,  performing 
on  the  off-nights.  Madame  Alboni  had  her  greatest 
triumph  in  La  Figlia,  an  impersonation  which  has  sel 
dom  been  compassed  in  this  city.  This  operatic  spec 
tacle  did  not  prove  very  remunerative  to  Mr.  Marshall, 
of  New  York,  and  Le  Grand  Smith,  more  on  account 
of  the  feeble  surport  given  to  Alboni  by  her  assistants, 
than  from  any  other  cause.  It  was  stated  that  the 
nightly  expenses  were  $1,500.  Mr.  Neaffie  and  Miss 
Heron  succeeded  the  opera  in  February.  In  the  month 
of  March,  Mr.  Willard  announced  a  new  season,  with 
a  company  of  great  ability  and  talent,  but  unfortunately 
many  could  not  discover  the  improvement.  Mr.  Jeffer 
son  and  Mr.  Palmer  were  certainly  acquisitions,  and 
with  Mr.  Goodall  formed  the  only  trio  of  actors  who 
rose  above  mediocrity,  that  have  been  attached  to  the 
corps  during  the  season.  On  the  14th  of  March,  the 
Spanish  Dancers,  comprising  Soto,  Melisse,  Pougaud, 


RECORD    OF    THE    BOSTON    STAGE.  465 

Drouet,  Lavigne,  Leeder,  and  Monsieur  Mege,  having 
terminated  an  engagement  at  the  National,  commenced 
at  the  Howard.  It  was  on  this  night  that  Miss  Emma 
Fitzpatrick  made  her  first  appearance  in  Boston,  as 
Letitia  Hardy,  supported  by  D.  S.  Palmer  as  Doricourt, 
and  Mr.  Martin  as  Hardy.  Miss  Fitzpatrick  was  born 
in  Clifton,  near  the  city  of  Bristol,  England.  Her 
father  was  from  the  county  of  Kilkenny  in  Ireland,  and 
at  one  time  was  in  affluent  circumstances,  but  the 
vicissitudes  of  life  left  the  family  after  his  death,  de 
pendent  upon  their  own  exertions,  and  Miss  Fitzpatrick 
adopted  the  profession,  con  amore,  making  her  debut  as 
Lydia  Languish,  lo  Mrs.  Glover's  Mrs.  Malaprop,  at 
Newcastle  (Potteries).  To  Mrs.  Glover  she  was  in 
debted  for  what  stage  education  she  received,  and  with 
this  eminent  actress  she  was  a  great  favorite.  After 
performing  at  several  of  the  provincial  theatres,  she 
played  at  the  Dublin  Theatre,  where  she  gained  repute, 
and  was  thence  summoned  to  London,  where  at  the 
Haymarket  she  made  her  debut  as  Helen  in  the 
"  Hunchback,"  and  shortly  after  appeared  at  Drury 
Lane,  then  managed  by  Bunn,  in  the  same  character 
to  Miss  Helen  Faucit's  Julia.  It  is  a  bit  of  green-room 
gossip,  that  Miss  Faucit,  who  is  the  actress  of  the  pres 
ent  era,  although  somewhat  envious  of  any  youthful 
debutante,  on  account  of  her  own  age,  was  asked  her 
opinion  of  Miss  Fitzpatrick.  The  lady  gave  a  celestial 
direction  to  her  nose,  a  few  whiffs  with  her  fan,  and 
replied,  "  She  is  a  good  dresser."  This  was  marked 
envy  ;  but  the  compliment  bestowed  was  just,  for  in 
her  'make  up  she  displays  the  greatest  taste,  and  is 
always  well  dressed,  without  the  slightest  approach  to 
30 


466  RECORD    OF   THE    BOSTON    STAGE. 

tawdry.  She  performed  for  some  time  in  London,  and 
was  engaged  by  Hackett  to  visit  America,  which  offer 
she  accepted,  and  appeared  at  Niblo's  in  New  York,  in 
August,  1852.  Her  connection  with  the  dancers  was 
unfortunate  for  her  dramatic  reputation.  The  dancers 
before  she  came  were  regarded  as  inferior  in  merit, 
and  Miss  Fitzpatrick  was  apparently  second  to  them, 
which  placed  her  in  a  false  position.  Her  acting,  as  a 
light  comedienne,  has  a  vigor  and  style,  which  renders 
her,  especially  in  dashing  comedy,  one  of  the  best 
actresses  of  the  day ;  and  her  Helen,  Mrs.  Chillington, 
Lady  Teazle,  etc.,  were  performances  with  which  the 
critical  could  find  no  fault.  Her  health  at  times  de 
prives  her  of  that  force  requisite  for  many  impersona 
tions,  but  when  in  good  spirits  and  well  supported,  she 
is  truly  a  charming  actress.  On  the  first  night  of  her 
appearance  in  Boston,  a  little  incident  occurred  worthy 
of  note,  if  only  to  show  how  trivial  a  dereliction  from 
custom  will  serve  to  break  the  ice  for  a  new  performer. 
The  audience  did  not  appear  to  enter  into  Miss  Fitz- 
patrick's  vein,  and  with  their  proverbial  coldness  were 
inclined  to  hold  back  their  applause,  perhaps  inclined 
to  think  the  Letitia  a  very  bold  girl,  to  hazard  what 
appeared  to  them  an  unwarranted  freedom,  inasmuch 
as  the  personation  differed  from  stereotyped  perform 
ances  of  that  part.  The  play  proceeded  till  Letitia, 
approaching  Doricourt,  asks  :  "  Do  you  know  what  the 
lamb  says  ?  "  An  instantaneous  reply  came  from  the 
gallery  of —  bah !  ha  !  ha  !  which  afforded  an  oppor 
tunity  for  the  lady  to  give  a  specimen  of  a  silvery 
laugh,  to  which  the  audience  added  a  chorus.  This 
served  as  an  introduction,  and  her  performances  were 


RECORD    OF    THE    BOSTON    STAGE.  467 

always  well  received.  Mr.  Hacfoett  played  during  the 
engagement. 

The  next  claimant  for  popular  favor  at  the  Howard 
was  Mrs.  McCready,  a  pupil  of  Peter  Richings  of  Phi 
ladelphia,  and  wife  of  Dr.  McCready.  She  had  per 
formed  only  a  week  on  the  stage,  before  her  appearance 
at  the  Howard.  Her  best  impersonation  was  that  of 
Julia  in  the  "  Hunchback,"  (Miss  Fitzpatrick,  whose 
stay  was  prolonged  a  week  after  the  departure  of  the 
dancers,  performing  Helen,)  Mr.  J.  H.  Oxley  as 
Master  Walter,  Goodall  as  Sir  Thomas  Clifford.  Mrs. 
McCready,  in  other  parts,  gave  signs  of  careful  study, 
and,  though  a  novice,  there  is,  we  think,  a  promise  in 
her  present  acting  which  leads  us  to  believe  that  time 
and  study  alone  are  required  to  perfect  her  as  an 
actress,  there  being  no  lack  of  natural  mental  vigor. 

On  Tuesday  evening,  April  19th,  1853,  Madame 
Sontag's  Opera  Troupe  commenced  their  season  at  the 
Howard,  and  gave  three  operas  each  week  till  May 
20th,  the  houses  varying  in  receipts  from  $1,300  to 
$800  ;  a  difference  partially  to  be  attributed  to  the  fact 
that  Count  Rosi  interfered  with  Mr.  Ullman,  the  agent, 
and  reduced  the  number  of  tickets  sent  to  the  press,  on 
one  occasion.  We  did  not  allude  to  the  fact  at  the 
time,  as  we  are  indifferent  to  these  minor  matters,  nor 
do  we  believe  that  the  public  are  much  interested  in 
such  episodes  ;  but  the  almost  universal  howl  sent  forth 
by  the  afflicted  had  its  effect  in  destroying  that  har 
mony  which  should  exist  in  the  public  mind,  especially 
when  the  lyrical  drama  is  the  object  of  patronage.  The 
Sontag  troupe  did  well  here,  and  made  money  ;  but  had 
they  come  earlier,  when  the  Bostonians  were  ripe  for 


468  RECORD    OF    THE    BOSTON    STAGE. 

Madame  Sontag,  the  harvest  would  be  one  of  gold, 
instead  of  silver.  Of  the  style  in  which  operas  were 
produced,  we  need  not  allude,  for  the  public  will  long 
remember  the  captivating  prima  donna,  Badiali,  Poz- 
zolino,  Vietti,  Gasparoni,  Biondi,  Signora  Mora,  Sig- 
nora  Rosina  Pico,  Vietti,  etc.,  and  the  popular  leader, 
Carl  Eckert.  The  recollection  of  this  operatic  troupe 
will  long  remain  a  pleasant  memory,  to  which  the  mind 
will  often  recur,  renewing  in  imagination  the  pleasure 
experienced  by  the  reality.  The  arrest  of  Palmer  and 
Philbrick  marks  this  engagement ;  but  it  is  a  blemish 
which  we  willingly  pass  over  in  silence. 

Performances  were  given  on  the  off-nights  by  Mr. 
Willard's  stock  company ;  and  on  the  nights  of  the  opera, 
the  Eagle,  or,  as  it  was  called  after  Messrs.  Olwine  & 
Goodall  tried  their  hand  at  it,  the  "  American  "  Theatre, 
was  opened  by  the  manager  of  the  Howard,  but  with 
little  success.  Mrs.  Warner  played  an  engagement  at 
the  Howard.  She  came  to  Boston  to  play  at  the 
National,  but  that  house  had  closed  the  season,  and  she 
was  out  of  employment.  On  the  17th  of  May,  Mrs. 
Warner  took  a  benefit  at  the  Howard,  when  Mrs. 
Mowatt  appeared  as  Desdemona,  and  Wyseman  Mar 
shall  as  Othello  ;  Mrs.  Warner  was  to  appear  as  Emelia, 
but  severe  indisposition  prevented,  and  Mrs.  Melinda 
Jones  assumed  the  role.  On  the  5th  of  May,  H.  W. 
Fenno,  late  of  the  National,  took  a  benefit  at  this  house, 
and  on  the  19th  J.  B.  Wright,  also  a  graduate  of  the' 
National,  was  the  beneficiary,  when  Mr.  Henry  Sedley 
made  his  re-appearance,  and  Mrs.  Pelby,  Miss  Julia 
Pelby,  and  Miss  Anna  Cruise  volunteered.  The  result 
was  not  such  a  reward  as  Mr.  Wright  deserved.  He 


RECORD    OF    THE    BOSTON    STAGE.  469 

has  been  a  hard-working,  industrious  stage-manager, 
and  we  hope  soon  to  see  him  in  a  position  for  which  he 
is  eminently  qualified. 

The  last  star  engagement  of  the  season  was  that  of 
Mr.  James  W.  Wallack,  Jr.,  who  had  been  playing  at 
the  National.  The  Howard  closed 'its  doors  for  the 
dramatic  season  in  June. 


CHAPTER   XXXV. 

The  Boston  Museum.  —  The(Patrons  of  the  Museum.  —  The  Drunk 
ard.  —  Opening  Night  at  the  New  Museum.  —  Mrs.  Barrett.  —  The 
Vaudeville  Saloon  at  Boylston  Hall.  —  The  Eagle  Theatre.  —  Mr. 
Pelby's  coup  d'etat.  —  The  Olympic  Saloon.  —  The  Boston  Adel- 
phi.  —  The  Lyceum  Theatre.  —  The  Dramatic  Museum.  —  Beach 
Street  Museum.  —  The  Predictions  of  a  Veteran.  —  Closing  Re 
marks. 

WE  have  alluded  incidentally  in  previous  chapters  to 
the  Boston  Museum.  This  popular  place  of  amusement 
is  now  a  feature  of  this  city.  From  a  very  humble 
beginning,  it  has  increased  and  strengthened,  till  it  has 
attained  a  name  which  is  as  enviable  as  it  is  well- 
deserved. 

On  the  14th  of  June,  1841,  the  "  Boston  Museum  and 
Gallery  of  Fine  Arts,"  was  opened  by  Mr.  Moses  Kim- 
ball  and  associates,  in  the  building  erected  for  the  pur 
pose  at  the  corner  of  Tremont  and  Bromfield  streets. 


470  RECORD    OP   THE   BOSTON    STAGE. 

The  collection  of  natural  curiosities  was  the  same  that 
formerly  belonged  to  the  New  England  Museum,  but 
many  additions  were  made,  and  several  valuable  curi 
osities  were  added.  There  had  been  several  museums 
in  Boston,  but  this  new  place  differed  from  all  others, 
from  the  fact  that  it  had  a  spacious  music  saloon  over 
the  Museum,  capable  of  holding  1200  persons.  The 
walls  of  the  saloon  were  hung  with  pictures,  and  the 
stage  was  sufficiently  capacious  for  the  performance  of 
vaudevilles,  etc.  The  drop  scene  was  very  neat  and 
appropriate,  and  the  place  was  quite  comfortable  and 
cosey.  The  hall  was  dedicated  on  the  14th  by  a  grand 
concert,  in  which  Mr.  Sinclair,  (father  to  Mrs.  E.  For 
rest,)  and  Miss  Melton,  were  the  attractions.  These 
entertainments  proved  very  acceptable  to  the  public, 
and  in  course  of  the  first  twenty  months,  Yankee  Hill, 
Dr.  Valentine,  Mr.  Walcott,  Miss  Rock,  Dempster, 
Mr.  Young,  Mr.  and  Mrs.  Maeder,  S.  C.  Massett,  Miss 
Moss,  Mrs.  Seymour,  Edward  Kendall,  Miss  Sarah, 
Knight,  the  Indian  Warriors  and  Squaws,  Mr.  Love, 
the  polyphonist,  the  Rainer  Family,  Signer  Blitz,  the 
Mysterious  Gipsey  Girl,  Major  Stevens'  Diorama  of 
the  Battle  of  Bunker  Hill,  the  Miss  Shaws,  were  at 
different  times  exhibiting  at  the  Museum. 

In  February,  1843,  Mr.  Kimball  engaged  John  Sef- 
ton  and  Mrs.  Maeder  to  bring  out  "  Operattas,"  and  on 
the  6th  inst.,  the  "Masque  Ball"  was  brought  out. 
This  was  the  commencement  of  dramatic  representa 
tions  at  the  Museum,  and  in  the  fall  of  the  same  year 
an  efficient  corps  dramatique,  under  W.  H.  Smith,  was 
organized,  and  performances  were  given.  On  the  25th 
of  September,  1843,  Miss  Adelaide  Phillips  ("only  ten 


KECORD  OF  THE  BOSTON  STAGE.       471' 

years  old")  made  her  first  appearance  as  Little  Pickle, 
and  gave  promise  of  that  advancement  which  she  has 
since  made.  Miss  Phillips,  by  the  kindness  of  her 
friends  and  Jenny  Lind,  is  now  in  Europe  perfecting 
her  vocal  acquirements  under  competent  masters,  and 
a  brilliant  future  is  in  store  for  her.  The  Museum 
attracted  all  classes,  and  it  was  the  resort  not  only  of 
the  middling  and  lower  classes,  but  of  the  more  wealthy 
residents,  for  the  pieces  were  well  put  on  the  stage,  and 
the  actors  above  mediocrity.  The  Museum  was  then 
and  is  now  patronized  by  a  large  class  who  do  not  fre 
quent  theatres,  but  who  have  a  nice  perception  of  the 
difference  between  tweedle-dum  and  tweedle-efce.  "We 
have  noticed,  however,  that  many  who  make  a  first 
attempt  at  countenancing  theatricals  at  the  Museum, 
may  shortly  after  be  found  at  the  regular  theatres,  and 
the  Museum  has  thus  done  much  towards  increasing 
the  lovers  of  the  drama.  The  production  of  the  moral 
play  called  "  The  Drunkard,"  written  by  W.  H.  Smith, 
decided  the  fate  of  the  Museum,  for  it  attracted  to  the 
house  an  unprecedented  number  of  visitors,  and  estab 
lished  permanently  the  popularity  of  Boston  Museum. 
In  the  year  1846  the  present  Museum  was  built  by 
Mr.  Kimball  and  his  associates,  and  on  the  2d  of 
November  of  that  year  the  first  entertainment  was 
given.  The  building,  designed  by  H.  &  J.  E.  Billings, 
and  erected  under  the  superintendence  of  Anthony 
Hanson,  is  admirably  adapted  for  the  purposes  for 
which  it  was  built.  It  was  during  the  season  of  1846-7 
that  "Aladdin"  was  brought  out,  which  had  a  run  of 
eight  weeks,  and  was  performed  ninety-one  times  to 
crowded  houses.  Mrs.  George  Barrett  also  appeared  < 


472  RECORD    OF    THE    BOSTON    STAGE. 

and  has  attracted  since  then  a  very  large  amount  of 
money  to  that  house.  To  record  in  detail  the  various 
performances  or  the  novelties  that  have  been  offered, 
would,  at  this  time,  be  a  repetition  of  what  is  still  fresh 
in  the  memory  of  our  readers.  Mr.  Kimball  is  one  of 
the  shrewdest  managers  in  this  country,  and  has  at  all 
times  in  reserve  sufficient  attractions  to  render  him 
independent  of  stars,  though  of  late  years  this  place  has 
been  the  scene  of  Mr.  Booth's  performances,  when  in 
Boston.  Mr.  W.  H.  Smith,  as  stage-director,  has  no 
equal  in  this  city,  and  to  his  efforts  may  be  attributed 
a  large  portion  of  the  success  of  the  Museum.  Mr. 
Comer,  as  leader  of  the  orchestra  and  musical  director, 
rendered  the  most  efficient  services,  while  Mr.  Warren  is 
a  host  in  himself,  and  Mrs.  Thoman,  Mrs.  Vincent,  Mr. 
J.  A.  Smith,  G.  H.  Finn,  and  others,  are  highly  esteem 
ed.  There  is  not  a  theatre  in  this  country  which  is 
more  agreeable  for  an  actor  than  this.  Behind  the 
scenes  all  is  harmony,  and  a  degree  of  etiquette  is 
observed,  which  should  be  introduced  into  every  the 
atre. 

During  the  season  of  1852-3  at  the  Museum,  Miss 
Julia  Bennet  (Mrs.  Barrow)  performed  an  engagement 
of  ten  successive  weeks,  to  good  houses. 

That  Boston  has  ever  contained  a  goodly  number  of 
persons  who  were  patrons  of  the  drama,  we  have  evi 
dence  in  the  number  of  entertainments  supported,  and 
the  numerous  localities  where  Thespis  or  Melpomene 
have  had  temporary  sway.  Boylston  Hall,  so  long 
occupied  by  the  Handel  and  Haydn  Society,  was  in 
1840  leased  by  Wyseman  Marshall,  and  on  the  15th  of 
July  opened  under  his  auspices,  as  a  summer  theatre, 


RECORD    OF    THE    BOSTON    STAGE.  473 

the  National  and  Tremont  being  closed.  The  hall  was 
well  ventilated,  and  the  place  was  called  the  Vaudeville 
Saloon.  A  constant  succession  of  novelties,  during  a 
brief  season,  served  to  attract  very  excellent  audiences, 
composed  chiefly  of  strangers.  The  leading  attractions 
were  Mrs.  W.  II.  Smith,  Leman,  0.  Marshall,  W.  G. 
Jones,  Miss  Fanny  Jones,  G.  Haynes,  who  appeared 
as  William  Tell,  E.  Jones,  J.  Salmon,  G.  II.  Wyatt,  J. 
P.  Adams,  Mrs.  Hildreth,  and  the  Fox  Children.  This 
dramatic  saloon  continued  in  "  full  tide  of  successful 
experiment"  till  the  vacation  at  the  other  theatres 
closed,  when  the  manager  and  actors  were  obliged  to 
leave,  to  fill  engagements  at  the  regular  theatres. 

In  1841,  an  amphitheatre  was  erected  on  the  corner 
of  Haverhill  and  Traverse  streets,  where  performances 
were  given  by  various  equestrian  corps.  In  1842,  it 
was  fitted  up,  and  called  the  Eagle  Theatre,  and  was 
opened  June  27,  1842,  by  "Wyseman  Marshall,  when 
an  address  was  delivered  by  Mrs.  Charles  Hill.  The 
prices  of  admission  were,  private  boxes,  50  cts. ;  boxes, 
25  cts.;  pit,  12  1-2  cts.  On  the  20th  of  August,  Mr. 
W.  H.  Smith,  after  a  temporary  absence  from  Boston, 
returned  and  took  the  stage  management.  Melodramas 
and  comedies  were  given  here,  and  with  such  effect 
that  the  Little  Eagle,  as  it  was  called,  threatened  to 
ruin  the  National  Theatre.  Mr.  Pelby  had  been  obliged, 
in  order  to  compete,  to  reduce  his  prices  to  25  cents. 
Although  the  Eagle  was  not  coining  money,  it  was 
gradually  killing  the  National,  when  Mr.  Pelby  bought 
a  quarter  interest  in  the  theatre,  and  one  night  visited 
the  premises  and  cut  away  a  portion  of  the  building 
which  supported  the  roof ;  and  thus,  after  a  season  of  a 


474  RECORD    OF   THE    BOSTON    STAGE. 

few  months'  duration,  brought  the  season  at  the  Eagle 
to  a  close.  A  law  suit  was  threatened,  but  the  case 
never  came  to  trial.  Mr.  Marshall  lost  the  little  he 
was  worth  in  this  enterprise,  but  it  gave  him  that  ex 
perience  which  has  since  been  worth  more  than  the 
money  lost. 

In  1841,  Mr.  Lee  fitted  up  his  saloon  on  Washington 
street,  for  the  purpose  of  giving  concerts.  It  was  sub 
sequently  leased  by  J.  "W.  Appleton,  Ostlnelli,  Sarsedas, 
and  others,  who  called  it  the  Olympic  Saloon,  and  with 
a  company  comprising  A.  W.  Fenno,  Curtis,  and  others, 
farces  and  light  comedies  were  given.  It  was  here  that 
Miss  Mary  Ann  Lee  appeared,  and  fascinated  the 
students  of  Cambridge,  and  the  young  men  of  Boston, 
by  her  dancing.  It  passed  through  several  hands,  and 
Miss  Turnbull,  the  Maeders,  F.  S.  Hill,  Miss  Fisher, 
and  others,  were  connected  with  it.  It  had  a  brief 
existence. 

On  the  5th  of  April,  1847,  the  Boston  Adelphi  The 
atre  was  opened  by  Messrs.  Brougham  and  Bland, 
(located  in  Court  street,  over  Waterman's  House  Fur 
nishing  Store,)  with  "  Faint  Heart  Never  Won  Fair 
Lady,"  the  burlesque  of  "  Cher  Ryan  Dfairs  Tar,"  and 
the  "Widow's  Victim."  The  company  consisted  of 
Mrs.  Brougham,  Miss  Wagstaff,  Mrs.  A.  W.  Benson, 
Mrs.  Bland,  Messrs.  John  Brougham,  Bland,  Whiting, 
Graham,  Parker,  Stephens,  Williams,  etc.  On  the 
opening  night,  Mr.  Brougham  delivered  one  of  his 
facetious  addresses,  which  is  worth  preserving  :  — 


RECORD    OF    THE    BOSTON    STAGE.  475 


OPENING  ADDRESS. 

DELIVERED   BY   MR.   BROUGHAM   AT  THE  ADELPHI  ON  MONDAY 
NIGHT. 

[After  some  altercation  behind  the  Scene.] 

PROMPTER. 

But,  Mr.  Brougham,  pray  don't;  what  will  they  say? 
Just  what  they  please ;  be  sure  they  '11  have  their  way ; 
There,  Sir,  I  told  you  they  'd  expect  no  less. 
Begin  without  an  opening  address ! 
Why,  'tis  in  fact  the  " open  sesame  " — 
Once  spoken,  our  good  friend,  the  public,  may 
Come  freely,  though  not  altogether  free, 
But  just  as  Casim  Baba  did  before, 
By  leaving  their  own  quarters  at  the  door. 
Our  house,  methinks,  though  not  exactly  white, 
Has  just  as  constitutional  a  right 
To  greet  its  auditors  with  opening  speech, 
Are  there  not  representatives  in  each  ? 
There,  of  this  age,  this  country's  population; 
Here,  of  all  ages,  and  of  every  nation ; 
With  them  delay  or  dulness  is  no  crime  ; 
Here,  there  is  no  trifling  with  the  public  time ; 
There,  acts  take  weeks  before  they  see  the  light  ; 
Here,  we  produce  some  five  or  six  a  night : 
For  our  acts,  wit  and  humor  we  invoke ; 
In  theirs,  'twould  puzzle  you  to  find  a  joke; 
,  Here  we'  ve  a  couple,  on  each  side  the  door. 

Grave  wisdom  there  presides  without  a  smile ; 
Here  she  takes  folly's  sprightly  mask  awhile ; 
Both  houses,  therefore,  have  this  end  and  aim, 
The  right  to  vindicate,  the  wrong  to  shame ; 
In  each,  with  you,  the  gravest  duty  lies, 
To  oil  the  wheels,  by  granting  the  supplies. 
But  now,  for  what  we  are  about  to  do, 
A  word  in  secret,  listen  —  entre  nous ; 
1  can 't  exactly  say;  of  this  I  'm  certain, 
There  are  some  plots  in  train  behind  that  curtain. 
I  don 't  much  like  to  treat  such  matters  lightly; 
But  my  advice  is,  you  should  watch  them  nightly. 


476       RECORD  OF  THE  BOSTON  STAGE. 

Lose  not  a  moment,  and,  beyond  a  doubt, 

You  '11  find  by  and  by  that  something  will  come  out. 

Some  schemes,  I  dare  not  whisper  if  I  would ; 

Some  scenes  I  cannot  paint  —  I  wish  I  could. 

Let  me  implore  you  not  to  join  the  movers 

In  any  way,  except  to  be  approvers. 

We  've  heard  and  breathed  the  recent  martial  air 

Played  by  the  "public  instruments,"  and  swear, 

That  to  a  man,  we  're  ready  one  and  all, 

To  do  our  duty  at  the  prompter's  call. 

'Tis  not  the  first  time  we  have  so  appeared, 

For  oft  before  we've  "  kindly  volunteered." 

You  '11  find  some  new  enlistments  in  our  corps, 

And  some  old  soldiers  whom  you  've  seen  before; 

With  one  ambition  animating  all, 

By  the  Adelphi's  flag  to  stand  or  fall, 

Just  as  the  scene  requires.     Our  marshal  tact 

Must  not  be  spoken  of;  you  '11  see  us  act. 

Manoeuvres  various,  but  not  quite  the  same, 

Makes  gallant  Taylor's  an  historic  name; 

By  Parthian  prowess  are  our  laurels  won  — 

Our  greatest  glory  a  successful  run. 

Let  us  then  hope,  in  this  all  iron  age, 

When  universal  raildom  is  the  rage, 

You'll  not  forget  this  new  established  "stage." 

To  gain  your  suffrages  we  toil  like  Turks, 

Even  our  painter  at  the  canvas  works ; 

His  views  are  yours,  for  zeal  he's  not  surpassed, 

But  nails  his  (water)  colors  to  the  mast; 

The  envied  victory  your  voice  commands, 

To  give  the  palm  rests  solely  in  your  hands. 

You  can  each  doubt  remove ;  be  pleased  to  do  it  — 

Go  for  "  THE  ADELPIII  "  —  pshaw,  1  mean  come  to  it. 

The  Adelphi  was  a  favorite  resort  of  the  lovers  of 
fun,  and  John  Brougham  was  the  life  of  the  place.  The 
burlesques  which  were  brought  out  were  very  good,  and 
attracted  well.  "  Metamora  "  was  burlesqued,  Mrs. 
Brougham  performing  Tapiokee,  and  "  Tom  and  Jerry, 
or  Life  in  Boston,"  from  its  local  hits,  did  well.  Miss 


RECORD    OF    THE    BOSTON    STAGE.  477 

Anna  Cruise  and  Mrs.  W.  H.  Smith  were  attached  to 
the  company.  The  house  was  very  small,  and  even 
when  crowded  would  not  admit  of  sufficient  receipts  to 
afford  a  very  remunerating  business  to  the  managers. 

The  Lyceum  Theatre,  in  Sudbury  street,  afterwards 
the  Eagle,  and  lately  christened  the  American,  was 
opened  in  1849  by  Mr.  H.  Bland,  and  was  managed  by 
Bland  and  Skerrett.  Messrs.  Crouta  and  Mestayer 
subsequently  tried  their  hands  at  it,  and  others  have 
since  indulged  their  managerial  propensities  by  short 
seasons.  It  has  never  benefited  the  management  for 
any  length  of  time. 

On  the  16th  of  October,  1848,  Messrs.  Robert  Hamil 
ton  and  C.  L.  Stone  opened  the  Dramatic  Museum,  in 
Beach  street,  near  the  United  States  Hotel.  The  per 
formances  embraced  "  As  You  Like  It,"  Rosalind,  Miss 
Clara  Ellis;  Touchstone,  C.  W.  Hunt;  an  Opening 
Address,  written  by  Frederick  S.  Hill,  and  the  farce  of 
"  The  Lady  and  the  Devil."  The  business  was  not 
remarkable,  and  the  projectors  of  the  enterprise  burnt 
their  fingers.  It  was  subsequently  called  the  Beach 
Street  Museum,  and  the  "  Female  Forty  Thieves,"  in 
which  Miss  Mestayer  figured,  drew  tremendous  houses. 
It  was  opened  by  several  adventurers,  at  intervals,  for 
a  year  or  more,  and  is  now  occupied  by  the  Catholics, 
the  basement  being  used  as  a  market  house. 

There  have  been  several  other  places  of  amusement, 
more  or  less  public,  of  which  we  make  no  note,  as  they 
present  no  marked  feature,  though  from  them  have 
emanated  several  actors  who  have  become  ornaments 
to  their  profession. 

Having  alluded  to  the  various  places  where  the  drama 


478  RECORD    OF    THE    BOSTON    STAGE. 

has  been  presented  to  the  Boston  public,  we  may  with 
propriety  drop  the  curtain,  and  close  this  record  of  the 
stage  in  Boston.  We  would  at  this  time  return  our 
thanks  to  all  who  have  assisted  us  in  its  preparation. 
One  gentleman,  however,  has  passed  away  since  its 
commencement,  from  whom  we  received  the  most 
generous  aid,  and  who,  previous  to  his  death,  was  kind 
enough  to  suggest  the  propriety  of  its  appearing  in 
book  form,  and  made  notes  for  our  use  of  some  mis- 
statements  in  the  earlier  chapters.  To  enumerate  those 
who  have  given  us  information  would  occupy  too  much 
space,  and,  if  we  should  attempt  it,  would  be  a  task 
which  would  require  days  to  complete.  We  are  under 
great  obligations,  also,  to  our  contemporaries  of  the  press, 
both  in  Boston  and  in  other  cities,  for  their  kindly  no 
tices  of  the  Record. 

The  reader  who  has  perused  these  chapters,  must 
have  been  impressed  with  the  fact,  that  the  drama  is 
the  amusement  most  favored  by  the  people,  and  the 
most  enduring  in  its  hold  upon  the  public.  For  nearly 
sixty  years  Boston  has  sustained  one  or  more  theatres, 
and  the  New  Opera  House  and  Theatre,  now  in  process 
of  erection,  will  receive  from  the  public  a  most  gener 
ous  support.  In  closing,  we  will  quote  from  a  letter 
written  by  Thomas  Barry,  Esq.,  a  short  extract,  which, 
though  not  intended  for  publicity,  is  appropriate  to  the 
times.  It  was  written  a  year  ago  :  — 

"  The  drama  is  firmly  planted  in  New  England  for 
good  or  for  evil ;  you  cannot  crush  it  by  prejudice,  or 
destroy  it  by  misplaced  religious  enthusiasm.  The 
public  can  make  a  theatre  a  blessing  or  a  curse.  In 
all  ages  and  in  all  lands  history  fully  proves  that  the 


RECORD    OF    THE    BOSTON    STAGE.  479 

stage  has  flourished  most,  and  been  most  generally 
upheld,  where  taste  is  most  refined,  and  manners 
softened  by  the  influence  of  civilization.  Where  liberty 
breathes,  there  the  drama  exists ;  and  it  is  worthy  of 
remark,  that  it  flourishes  only  in  those  States  that  are 
not  cursed  by  despotism.  Much  of  the  hostility  to  the 
drama  at  present  existing  in  the  Eastern  States,  is 
doubtless  inherited  by  the  people  from  their  ancestors, 
who  looked  with  horror  on  the  profligacy  of  Charles 
the  Second,  when,  imitating  the  contagious  example  of 
the  monarch,  the  English  nation  became  abandoned  to 
gross  sensuality.  The  arts  were  prostrated  in  the  cause 
of  licentiousness,  and  the  drama  did  not  escape  the  con 
tamination.  You  will  have,  sooner  or  later,  a  first-class 
theatre  in  Boston,  and  if  properly  built  and  properly 
conducted,  it  will  prove  A  BOON  TO  THE  PUBLIC,  AND  A 

FORTUNE    TO    THE    MANAGER." 

These  are  the  prophetic  words  of  a  veteran  actor  and 
manager ;  may  we  live  to  see  them  historical  facts  in 
some  future  Record  of  the  Stage  in  Boston. 


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